INTERNATIONAL CHORAL BULLETIN

ISSN - 0896-0968 Volume XXXIX, Number 3 ICB 3rd Quarter, 2020 - English

DOSSIER Composer’s Corner: BASIC COGNITIVE PROCESSES Choral Music is an Expression of our IN CONDUCTING Souls and our Social Togetherness Interview with John Rutter INTERNATIONAL CHORAL BULLETIN CONTENTS 3rd Quarter 2020 - Volume XXXIX, Number 3 COVER John Rutter 1 MESSAGE FROM THE PRESIDENT Emily Kuo Vong DESIGN & CONTENT COPYRIGHT © International Federation DOSSIER for Choral Music 3 BASIC COGNITIVE PROCESSES IN CONDUCTING Theodora Pavlovitch PRINTED BY PixartPrinting.it, Italy IFCM NEWS 13 IFCM AND THE QATAR NATIONAL CHORAL ASSOCIATION WORKING ON SUBMITTING MATERIAL THE WORLD SYMPOSIUM ON CHORAL MUSIC 2023/2024 When submitting documents to be IFCM Press Release considered for publication, please provide articles by Email or through the CHORAL WORLD NEWS ICB Webpage: 15 REMEMBERING COLIN MAWBY http://icb.ifcm.net/en_US/ Aurelio Porfiri proposeanarticle/. The following 18 CHOIRS AND CORONA VIRUS ... THE DAY AFTER electronic file formats are accepted: Aurelio Porfiri Text, RTF or Microsoft Word (version 97 21 CHATTING WITH ANTON ARMSTRONG or higher). Images must be in GIF, EPS, A PROUD MEMBER OF THE INTERNATIONAL FEDERATION FOR CHORAL TIFF or JPEG format and be at least MUSIC FOR MORE THAN 30 YEARS 300dpi. Articles may be submitted in one Andrea Angelini or more of these languages: English, French, German, Spanish. IMPOSSIBLE INTERVIEWS 27 THE TRUE HISTORY OF THE VESPERS OF THE BLESSED VIRGIN REPRINTS BY ALESSANDRO GRANDI Articles may be reproduced for non Andrea Angelini commercial purposes once permission has been granted by the managing editor CHORAL TECHNIQUE and the author. 33 PERFORMING MICROTONAL CHORAL MUSIC, PART 2: GETTING YOUR HANDS DIRTY MEMBERSHIP FEES Robert Lopez-Hanshaw Membership fees are calculated following the United Nations Human COMPOSER'S CORNER Development Index, and are payable in 41 CHORAL MUSIC IS AN EXPRESSION OF OUR SOULS AND OUR SOCIAL Euro or Dollars with credit card (VISA, TOGETHERNESS MASTERCARD, AMERICAN EXPRESS, INTERVIEW WITH JOHN RUTTER PAYPAL), or bank transfer, to IFCM. For Andrea Angelini more information, please consult the IFCM membership page REPERTOIRE at https://www.ifcm.net/. 45 THE CHALLENGE OF CHOOSING SACRED CHORAL WORKS BY INDONESIAN CHOIR DIRECTORS PRINTED COPIES Agastya Rama Listya For Members (with basic membership): 50 MANY VOICES: THE NEW POLYPHONY IN ANGLO-AMERICAN CHORAL US$ 40.00 (36 Euros) per year. MUSIC OF THE TWENTY-FIRST CENTURY, PART ONE Included in other memberships. Graham Lack For Associates and non-Members: US$ 60.00 (53 Euros) per year. 56 SPONSORING INDEX For a single copy, contact the office 58 CHORAL CALENDAR THE VIEWS EXPRESSED BY THE AUTHORS ARE NOT NECESSARILY THOSE OF IFCM MESSAGE FROM THE PRESIDENT

Since pressing pause often allows a sense of clarity when we are stuck in the weeds, EMILY KUO VONG going through this pandemic also brings an opportunity for us to review the past, to President think about the future - to learn, research and create. In this situation, the IFCM continues to make every effort to serve our members, helping choral choirs and promoting choral education all over the world. We are exerting ourselves to seek more innovative approaches and online possibilities to execute our projects, since many events are transforming from local to online. Dear Friends, My private company - International Cultural Center Monte Real in Portugal – is invested Time flies as we enter the third quarter in developing an applet to launch an online project which is named Colorful Voices. of the year and the global public health This online project will be an effective strategy to help and support IFCM remain fresh, crisis caused by COVID-19 continues to focused and engaged. influence the whole world significantly. This online project will help express the IFCM’s goals and concepts, making more choral In the past three months, many countries fans around the world know more about the IFCM and help attract more members for have suffered from sadness during this the IFCM. Articles from ICB and e-News of IFCM have been translated and posted pandemic. A large number of people on the applet regularly. Other projects and activities of the IFCM, such as Conductors have been infected by the virus; some without Borders, will be added subsequently soon. The applet enables people from have lost their loved ones, healthcare various countries, especially from developing countries, to have easy access to the professionals have kept fighting against latest information in the worldwide choral community. the virus to save more lives and most of Meanwhile, this online project includes an International Choral Academy, offering a us have stayed at home in quarantine to number of lectures, presentations, Zoom seminars, and virtual choir performances. protect our families. On the 16th of May 2020, the first Zoom seminar took place as the Open House of Ever since governments all over the the International Choral Academy and 15 well-known conductors, composers, and world imposed stringent anti-epidemic professors took part in and interacted with more than 250 participants. I was very rules and restricted massed gatherings, touched that all of the people who participated in the Open House were from different people’s lives have been affected and continents and had communicated wonderfully for almost two hours. I could tell their changed. It is as though the pause passion from their excited voices and sparkling eyes; some of them had even woken up button of the world was pressed and very early in the morning due to different time zones. many cultural events, sports, and There are also many wonderful lectures with diverse topics being prepared, as well as a festivals were canceled or postponed, series of educational events being planned on the applet. I believe that the professional such as the 2020 World Symposium involvement, excellent experience and the volunteering of time to this online project by for Choral Music in New Zealand and every conductor and professor will attract many choral fans. More and more people will the World Youth Choir 2020 session in exchange and share their different opinions on choral music and musical education and Germany. more people could join the IFCM’s big family, becoming members through this online In the face of these negative changes in project. our life, we might feel deep sorrow and The network connects us to each of the individuals online and their colorful voices will regret about this unfortunate situation. enrich our minds and lives. These connections ultimately extend from one of us to all However, we will never give up. Our of us. As a result, we will learn together, discover more about ourselves and grow. I musical imagination will not stop, our look forward to meeting more friends through this online project, hearing more colorful expectation for a beautiful life will not be voices and together singing a song of love and hope for the world! Best wishes. broken, and our love will not putter out. Edited by Nicole Wilkinson, UK

INTERNATIONAL CHORAL BULLETIN EDITOR EMERITA Jutta Tagger ICB ONLINE EDITION http://icb.ifcm.net EXECUTIVE EDITORS REGULAR COLLABORATORS PUBLISHER Emily Kuo Vong, Cristian Grases, Dominique Nadine Robin, Theodora Pavlovitch, International Federation for Choral Music Lecheval, Gábor Móczár, Tim Sharp, Thierry Aurelio Porfiri MEMBERSHIP AND SPONSORING Thiébaut, Ki Adams, Montserrat Cadevall, ENGLISH TEAM Mirella Biagi IFCM ICB, PO Box 42318, Austin TX Yveline Damas, Burak Onur Erdem, FRENCH TEAM Barbara Pissane 78704, USA Yoshihiro Egawa, Oscar Escalada, Niels GERMAN TEAM Lore Auerbach Fax: +1-512-551 0105 Græsholm, T. J. Harper, Saeko Hasegawa, SPANISH TEAM Email: [email protected] Victoria Liedbergius, Liu Peng Maria Zugazabeitia Fernández Website: http://icb.ifcm.net MANAGING EDITOR LAYOUT Nadine Robin Andrea Angelini - [email protected] 1 DOSSIER

DOSSIER

Basic Cognitive Processes in Conducting Theodora Pavlovitch

Herbert von Karajan 2 BASIC COGNITIVE PROCESSES IN CONDUCTING

THEODORA PAVLOVITCH conductor and professor

PSYCHOLOGICAL PROCESSES REPRESENT A BASIC CATEGORY OF PHENOMENA, OR IN OTHER WORDS, A SEQUENCE OF CHANGES OF THE MENTAL ACTIVITY UPON CERTAIN INTERACTIONS BETWEEN A HUMAN AND THE WORLD.

They are dynamic forms of reflecting reality, which according to their nature The role of interoceptive sensations are differentiated as: is not basic but they are important • Cognitive psychological processes - sensations, perceptions, thinking, for the general physical condition memory, imagination; of the conductor. Therefore, they • Emotional processes - sensations, active and passive experiences; have an impact on the level of • Processes of will - will, resolution, effort, performance1. higher psychological processes • Studying the specificity of cognitive processes in the course of performing such as emotional, will, memory, an activity so complex and diverse as conducting will help us reveal an imagination, etc. A specific example important part of the relevant psychological characteristics. in this regard would be the words of Karajan who said in an interview: SENSATIONS, PERCEPTIONS AND CONCEPTS “My joy from conducting is much A. Sensations higher and maybe the audience Sensations are the most elementary cognitive processes. They reflect the feels that. The orchestra positively individual properties of the objects and the phenomena from the internal feels it. My joy from conducting and external world upon their immediate impact on analytical data. Their has acquired new dimensions function is to secure more complex cognitive processes. According to the since I got rid of the severe pain I nature of the reflection and location of the receptors, sensations are divided experienced for a full eight years”3. into three groups: Concurrently this practice 1. exteroceptive (“external”), which reflect the properties of the objects has proven that the intensive and the phenomena of the external environment, through receptors, functions of consciousness located on the body surface; this group includes visual, aural, olfactory, and subconsciousness in the temperature and tactile senses; creative process may neutralize 2. interoceptive (“internal”), which reflect the status of internal organs, interoceptive sensations. Further through receptors in the internal organs and tissues; this group includes Karajan said: “Once during a all organic sensations, including the sense of pain and balance, etc.; concert, I passed a kidney stone 3. proprioceptive, which provides information about the position and and I noticed it after that. Usually, movement of the body through receptors located in the muscles and this is a pain that makes you roll on tendons2. the floor”4. Aural sensations are of major significance to the first group, exteroceptive With regard to proprioceptive sensations, as well as to all types of music-related activities. Visual sensations, which were sensations are also important as they allow the conductor to get information highlighted in the previous chapter, from the music score as well as about the activities of the performers’ staff kinaesthetic senses are highly during the performance. important in conductions, as they

1 Piryov, Gencho. Lyuben Desev. Concise Dictionary in Psychology Sofia: Partizdat, 3 Mateopulous, Elena. Karajan - life, art, 1981, page 167-168. work. - B: Bulgarian Music, No. 2/1988, 2 Piryov, Gencho. LyubenDesev. Concise Dictionary in Psychology Sofia: Partizdat, 1981, page 17. page 259. 4 As above, page 20.

3 give information about the position and the movements of the body

DOSSIER and its individual parts. This shall also include sensations from the vestibular apparatus regarding body balance in a certain space. Kinaesthetic sensations allow conducts to perform specific, purposeful and efficient movements when there is a sufficient degree of self-control. Many conductors by way of self-monitoring come to conclusions about the need for muscle “freedom”. Lorin Maazel said: “Muscle tension is the hardest to overcome. Once I got into music, not only did my arm and shoulder muscles strain but so did my back and leg muscles. One day Lorin Maazel I told myself: You have to learn how to relax...”5. In this regard, interesting thoughts - many conductors achieve this of pitch, strength, timbre, rhythm8. are found in the Handbook of freedom in a natural way, without This differentiation has a pure conducting by Hermann Scherchen: needing special care. On the other scientific value, as in practice “There is a law - the intense mental hand, as we saw in the citations, the four features of tone are fully energy comes in the form of even the most famous conductors connected and constantly overlap intense physical energy. However, have had difficulties in overcoming with each other. Reviewing them physical energy is anti-musical on muscle tension during their career. separately is required for a deeper its own: Music is an art of the spirit It is important in this case to teach analysis. Before that, we must and spiritual tension, it does not young conductors about proper clarify that due to the complexity of stand the physical energy, which muscle movement, i.e. activating the processes in the sound analyser, has an end in itself”6. kinaesthetic sensations and scientific literature uses the term The conclusions of K.S. Stanislavski, conscious self-control to remove all “sense” more often, which more resulting from his observations on types of unnecessary tension. so encompasses the psychological, the actor’s work, are very valuable: This issue has been thoroughly rather than the physiological part of “As long as there is physical studied in the scientific work of A. the phenomenon. And so, without tension, there can be no proper, Sivizianov “The issue of muscular stopping on the psycho-physical sensual feeling and normal spiritual freedom of the choir conductor.” mechanism, we will track the role life. So, before he begins creating, Here the author develops a of the various components of one must prepare his muscles, so comprehensive theory for the way musical sense in conductor activity. that they do not limit the freedom to achieve motor freedom in the PITCH HEIGHT SENSE: this tone of movement”7. process of conducting based on sense is considered essential for The problem of muscle freedom many scientific studies. musical capabilities9. It has been has a largely individual character As previously mentioned, proven that it may be improved with kinaesthetic sensations are directly training, which certain scientists connected with musical-aural have argued in favour for. Further, 5 Maazel, Lorin. Interview in LIK perceptions during conducting. it is underlined that this sense Magazine, No 41/1983. In order to reveal the mechanism is important but not absolutely 6 Scherchen, Hermann. Handbook of for creating these perceptions, it sufficient for musicality. conducting. - В: Conducting performing is necessary to look at the role of Tone sense has great significance act. Moscow: Publ. Muzika, 1975, page aural sensations and perceptions. 222. According to basic qualities of tone 7 Stanislavskiy, Konstantin. The actor’s such as acoustic events, 4 types 8 Hristozov, Hristo. Musical psychology. proper care of himself. Sofia: East-West, of sensations are revealed: Height Plovdiv. Macros, 199. ISBN; 978-619-152-690-1, с. 180. 9 The same, page 40-46.

4 occurs in tones with close pitch. This specificity clearly also shows the direct interrelation between tone sense and dynamic sense. In addition, dynamic sense is directly connected with timbre sense where the human ear perceives some timbres as “stronger” than others due to their spectral characteristics. A good example of this is that of two of the Ten Golden Rules for the Album of a Young Conductor by R. Strauss. He says: “5. But never let the horns and woodwinds out of your sight. If you can hear them at all they are still too strong; 6. If you think that the brass is now blowing hard enough, tone K.S. Stanislavski it down another shade or two11. The dynamic sense of the conductor is of great importance in the practice of conducting due to as a whole. A specific case in for ensuring the dynamic balance the need to control and indirectly this regard is playing or singing a of the performing staff, which invoke corrections of the tone of wrong tone (due to the performer’s represents an essential component multiple sound-producing objects mistake or an error in the sheet of the overall choir or orchestra (instruments, voices). In this music) and the conductor has to sound. case, descriptive ability is of great exercise tone control. To carry out The lack of aural control caused by importance as it allows sensing this task, the conductor should weak dynamic sense would cause even the smallest change in the possess and develop their sense significant damage to the structure height of pitch. of tone allowing them to perceive of the musical interpretation. On the other hand, the theory and respond adequately to the TIMBRE SENSE is also of great of the zoning nature of human occurring tone deviations. significance in the practice of hearing clarifies the ability to TONE STRENGTH SENSE is conducting. Due to the specifics perceive deviations from a tone important for conducting due of their work, a conductor must only above specific values at the to the primary significance of be able to perceive and indirectly rate of 20-30 cent10. It is exactly the dynamics for the musical impact multiple different timbres. this specificity of hearing that interpretation. Dynamic sense According to the research of the explains the “choir effect”, which appears early on and is easily Russian psychologist B. Teplov, is typical for all kinds of performing controlled. The high degree of three groups of signs are used to ensembles. Due to the inability for development of this sense is specify timbres: multiple performers to reproduce another compulsory condition for • light features: Light, dark, glossy, a tone with absolutely the same conducting work due to the need matt, etc.; pitch in ensemble performances, for a high distinguishing ability with • Sensory features: Soft, rough, combined tones are produced, the regard to the different degrees sharp, dry, etc.; height of which corresponds to a of dynamics. An extraordinary • Spatial - volumetric features: Full, narrower or wider zone of sound example in this regard is part II of empty, wide, solid, etc.12. frequencies. The purpose of the the composition Inori of Karlheinz conductor is to greatly control the Stockhausen where the conductor, width of that zone and to ask the as instructed by the author, must performers to make relevant tone achieve 60 different degrees of 11 Strauss, Richard. Ten Golden Rules corrections if there are deviations dynamics. for the Album of a Young Conductor - В: exceeding a specific value or when One of the biggest problems of Conducting performing act. Moscow: the combined tone is not perceived dynamic sense upon conducting Muzika, 1975, page 397.“ is the effect of masking or 12 Teplov, Boris. Psychology of Music deafening, i.e. “hiding” one tone Abilities. Moscow: Academy of 10 As above, page 41. behind another which especially Psychological Sciences, 1947, page 68.“

5 These features and any other similar ones are used often in conducting. The its specific features”14. Due to the special importance of timbre and dynamic sense is due to the fact that they complex structure of perception,

DOSSIER are of great significance for building the structure of music interpretation by differentiating its distinct types having a detailed attitude to the dynamic and timbre components of sound. is carried out depending on the RHYTHM SENSE is based on the conditional reflexes of time, which are prevailing active analyser. On this fundamental for the central nervous system. The aural and the kinetic senses basis, perception is divided into are combined for all types of musical activities (composition, performance, categories such as visual, aural, listening). Due to the important role of the locomotor apparatus for etc. conducting, this combination is of primary significance. However, it is necessary to examine the more complex structure of rhythm sense, which 1. AURAL PERCEPTION: in addition is connected with the higher cognitive processes, separately. to the combination of different As we already noted, the complex action of the listed types of sensations types of aural sensations, aural forms musical perception. perception possesses a brand-new level of features, among which the B. Musical perception following are of great significance Perception is determined as a basic mental process of subjective reflection for conducting: of the objects and the phenomena from the reality in the totality of their • The perception of the melody properties and parts upon their immediate impact on the sensory organs13. as a complete musical thought, Therefore, perception gives information about the integrity of individual most often a carrier of the basic aspects of objects and phenomena, unlike sensations, which give musical content or “melodic consciousness information about them. Concurrently “normal perception” hearing”. Aside from external is not a purely passive, meditative act, but also an active reflection. Eyes, signs - height, durability, timbre ears and other body parts don’t perceive in isolation, but as part of a specific and strength of the individual human being with a particular attitude to the perception who has needs, tones, an individual perceives interests, pursuits, desires and feelings. Perception is not a mechanical sum melody in its entirety and the of individual sensations but a brand new step of sensory knowledge with emotional information it carries.

13 Hristozov, Hristo. Musical psychology. Plovdiv. Macros, 1995, page 11. 14 Piryov, Gencho, Lyuben Desev. Concise Dictionary in Psychology. Sofia: Partizdat, 1981, page 36.

K.S. Sranislavski: the system

6 Melody cannot be perceived as just a physiological developing this complex perception. Given that the agitator; in this connection, B. Teplov states that such conductor “operates” with multi-voice music in all “absolute non-musicality is impossible for the regular its forms, he could not execute the creative process psyche”15. without the active perception of the “vertical”. • When conducting, melodic hearing has an important One of the main specifics of conducting for performing function due to the fact that melody is one of the groups, including human voices (choirs, vocal- main forms of expression and its active perception instrumental and vocal ensembles), is the presence (resp. modelling) is a significant element of the of lyrics, which complicates perception even more, creative process. It is important for the conductor to as they add lyrical information systems to the musical perceive and, based on their perception, to influence structures. With them, the mechanism for perception the process of musical interpretation on forming is connected to other brain centres (in particular, the the structural components of melody (intonation, speech centre). Therefore, we can assume that the rhythm, mode relations). At the same time, emotional whole process of perception is further complicated. perception and the experience of these components In this mechanism, four levels of perception can in their connection is also an important part of this be differentiated: phonetic - tone - phoneme level, process. morphological - motive-word level, syntactic - phrase - • The perception of harmony or harmonic hearing sentence–level and logic – composition, regarding the expresses itself as the “ability to perceive multi-voice complete musical form and according to the meaning music”16. As a result of multiple studies, it has been and text structure. proven that this is the last developed ability of Man (in an ontogenetic and phylogenetic meaning)17. 2. VISUAL PERCEPTION - based on the conclusions • The significance of harmonic hearing in a conductor’s made in chapter four on the role of the visual analyser activity is undeniable. We can claim that the work when conducting, we can determine two types of of the conductor is impossible without properly visual perception: • visual perception of the musical score, which is directly connected with aural perception and the 15 Teplov, Boris. Psychology of Music Abilities. Moscow: Publ. created musical - aural perceptions: Academy of pedagogical sciences, 1947, p. 59. • visual perception of the performers; also directly 16 Hristozov, Hristo. Musical psychology. Plovdiv. Macros, 1995, connected with aural perception. It ensures additional page 76. information when carrying out the creative process. 17 As above, page 69. Weingartner states: “If the conductor is connected to

Hermann Scherchen Boris Michajlovič Teplov

7 Conductors, from Berlioz, Wagner, Weingartner and Furtwängler to

DOSSIER current conductors, constantly examine this question, as they seek objective criteria for determining tempo. Some of them even reach the conclusion that the perception of tempo is largely a psychophysiological problem, which creates a connection between the sense of tempo and the conductor’s temperament. Berlioz, for example, states: “The most dangerous ones are those lacking activity and energy. They cannot handle a faster tempo. As fast the work may start, if left to their care, they will slow it down until the rhythm reaches a certain level of calmness, apparently corresponding to the speed of their blood movement and the overall The human brain exhaustion of the organism... There are people in the cusp of their youth with a lymphatic temperament - as if their blood is circulating in a the musical score in such a way that he/she cannot break apart from it for moderato tempo”20. even a minute, to look at the orchestra, then he/she is nothing but a tact Especially attractive, but proving measurer, incompetent and has no right to call himself/herself an artist”18. In the complexity of tempo any case, this type of visual perception is directly dependent on the activity perception, are Eugene Ormandy’s of memory, whose particularities during conducting we will look at later. quotes, recorded by his orchestra Both types of visual perception play an important role in the whole psychic performers during rehearsals: process when conducting. “During every concert, I keep feeling some uncertainty in the 3. THE PERCEPTION OF TIME: this is a “particular form of perception that tempo. It’s shown clearly, quarter reflects objective continuity, change and structure of the events that occur in equal to 80, not 69”... “I conduct our daily lives”19. It has been proven that hearing and motor sensations help slowly because I don’t know the for the most appropriate perception of time slots that are determined by tempo”... “I consciously gave you rhythmic processes in the human organism i.e. heart rhythm and breathing a slower tempo as I don’t know rhythm. As an art that develops in real-time, the perception of time in music what’s more correct”... “Note that is of utmost importance. I am conducting faster and slower, When executing the creative process, time perception has two aspects for faster and slower. Everything the conductor: is connected to the previous 1. regarding the sense and resp. perceptions for metro-rhythm through tempo”21. In this strange “mosaic” establishing conditional reflexes for time; of quotes, Ormandy unconsciously 2. regarding the perception of tempo, which is one of the most important puts the problem of tempo in its forms of expression in music. As a main form-creating factor, tempo is of pure psychological aspect. incredible importance for creating musical structure and not coincidentally, almost all great conductors in their written materials have examined the issue of “correct” tempo. 20 Berlioz, Hector. Orchestra conductor - in: Art of conducting. Sofia: Musical horizons, issue 11/1979, p. 13. 18 Weingartner, Felix. On conducting. - В: Art of conducting. Sofia: Musical horizons, 21 Ormandy, Eugene. Curiosities of issue 11/1979, p. 85. rehearsal work. In: Music, yesterday, 19 Piryov, Gencho. Lyuben Desev. Concise Dictionary in Psychology. Sofia: Partizdat, today. issue 1/1999, p. 52, 54, 60. 1981, page 37.

8 psychology, we find conclusions, which to a great extent explain the complexity and compatibility of these processes: “The issue on where to place the boundary between perception and knowledge or even between sense and perception provokes hot debates. Instead, for being more efficient, we have to review these processes as a part of the continuum. Information runs through the system. Different processes address different issues“23. In her work “The Musical Audience”, Associate Prof. Irina Haralampieva (PhD), stresses that “[w]e have to note that the musical experience is not only specific but complex. Each moment of perception interweaves senses, emotions, thoughts, The ear memories, associations, etc., which merge into this complex body, spread in the general life experience of the individual and On the other hand, artistic pursuits in the profession of conducting are live long after the music has faded connected largely to this problem. In this case, it is not just about feeling away“24. unsure, complicating the choice of tempo, but more frequently, it is about an aesthetic choice that is directly connected to the issues of artistic thinking. C. Concepts We see a special interest in tempo and its connection to perception in an Concepts characterize a higher level interview with Prof. V. Kazandzhiev: “For me, the correct tempo is one that of knowledge and a transition from corresponds to the natural pulse of the music, which does not create tension... sensations and perceptions. They The musicality has to be normal. Any tension is perceived as nervousness. represent visual and summarized Gluck and Vivaldi themselves have said that tempo is everything. But when images of objects and phenomena you get up on the conductor’s podium, your pulse increases to 130 beats from the objective world occurring per minute. You think you’ve hit the right tempo, but it turns out to have in the brain, which have no been faster under the influence of your own increased pulse... The pulse impact on senses at a given time. reflects, above all, on the faster tempos. The more spontaneous a conductor Generally, they are results from is, the higher the chance for a more spontaneous and correct tempo. There processing and summarizing past is nothing more annoying than attempts to impose tempos on the artist. perceptions25. Yes, in the common effort of creating, there has to be logic and that comes Concepts of different structure and from the tempos preferred by the conductor as well”22. function take part in the creative We must note that as a result of everything said so far, that perception of process of conducting. tempo is in direct relation to other cognitive processes such as musical- Musical-aural concepts are a key aural perception, thinking and imagination. It is also highly dependent on the temperament and character of the conductor. But especially strong is the dependency of this perception on the emotional and wilful 23 Sternberg, Robert. Cognitive psychic processes that create one of the most important components of Psychology Sofia: Iztok-Zapad, 2012, psychological characteristics of the conductor. page106. In the recent scientific literature focusing on the issues of cognitive 24 Haralampieva, Irina. The Musical Audience Sofia: Haini, 2014, page 63. 25 Piryov, Gencho. LyubenDesev. 22 Karapetrov, Konstantin. Interview with prof. Vasil Kazandzhiev. - In: Music, yesterday, Concise Dictionary in Psychology Sofia: today. issue 6/1994, p. 5-6. Partizdat, 1981, page 150-151.

9 component of the creative process of conducting. The content. This process is a result of the connection main form of expression of these concepts is the internal between different brain centres and the imagination.

DOSSIER hearing of the conductor, which Rimsky-Korsakov The occurrence of visual concepts with auditory defines as the “ability for the mental presentation of concepts is an important phenomenon, which is based musical tones and their ratios without the help of an on the programme music and all genres connected instrument or a voice”26. Hermann Scherchen also with any form of sound illustration. Rudolf Kan-Schpeier mentions the significance of internal hearing in his formulates his opinion on this issue as follows: “The fact Handbook of Conducting: “The conductor is a presenter that the conductor does not usually realize how exactly of his ideal concepts. The conductor must mentally he/she imagines the content of the composition and hear the musical composition in such a clear manner as how, based on such concept, he/she determines the this music was heard by its creator... This is exactly the manner of performance, is also explained with the fact perfect internal singing that must create the concept that the essence of such concepts, as a rule, may not for music in the conductor. If the composition lives in be connected with any specific objects... The essence the conductor in its initial form, without being distorted of many compositions, as well as the mental nature of from the material aspect of reproduction, then he/she many conductors, is such that the specified concepts is worthy of joining the magic of conducting”27. of objective nature are not always revealed to them”29. Musical-aural concepts appear at the very beginning The issue for the positive or negative role of the aural - of the creative process when the conductor reads the visual associations is too subjective. We cannot and we musical score. Visual and aural moments are carried don’t have to issue “a sentence” - “for” or “against” out by people with highly developed internal hearing. this phenomenon. The most important thing, in this Then aural perception must immediately provoke corresponding movements and immediately “listen with the eyes”. Robert Schumann says: “Someone said that the good musician, once having heard an orchestra 29 Kan-Schpeier, Rudolf. Handbook on Conducting - In: piece as complex as it may be, must see the entire Conducting performing act. Moscow: Muzika, 1975, page 209. musical score as it is in front of his eyes. This is the highest perfection, which we may imagine”28. Upon training the conductor, developing and raising this ability is a paramount task due to the fact that the lack of connection between aural perception and the musical-aural concepts would make it impossible to carry out the creative process. None of the higher mental processes could replace or compensate for such lack of abilities for “hearing’ the musical score. In addition to the formation of musical - aural concepts, visual perception is the basis for the creation of aural concepts. In conducting, they are essential in two aspects: first, when conducting without a music score, they may add to the musical-aural concepts preserved in their memory. Depending on the type of memory a conductor has, aural concepts may play a more or less important role. The second aspect of the appearance of aural concepts in conducting is connected with the use of imagery (visual ideas) created on the basis of the musical

26 Rimsky-Korsakov, Nikolay. Quote by Hristozov, Hristo. Musical psychology. Plovdiv. Macros, 1995, page 84 27 Scherchen, Hermann. Handbook of conducting. - В: Conducting performing act. Moscow: Muzika, 1975, page 209- 210.“ 28 Schumann, Robert Quote by Hristozov, Hristo. Musical psychology, page 86. Felix Weingartner

10 case, is that it again proves the mutual dependence REFERENCES and the connection between different psychological Berlioz,Hector. Диригентът на оркестъра. ( Chef processes. In particular, we may speak about enriching d’orchestre). In: Изкуството на диригента. (Art of the conductor). Sofia, Music Horisons, 11/ 1979, p.13. aural concepts as a result of the complex action of Weingartner, Felix. За дирижирането. (On conducting). In: the imagination, the specific - image functions and Изкуството на диригента. (Art of the conductor). Sofia, the emotional sphere, which has an individual and Music Horisons, 11/ 1979, p. 85. spontaneous nature. Kan-Speyer, Rudolf. Handbook in conducting. In: In conclusion, we have to highlight that both visual and Дирижерское Исполнительство. (Conducting performing art). Moskow: Music Publishing House,1975, p.247. musical-aural concepts are in direct correlation with the Karapetrov, Konstantin. Interview with prof. Vassil gained professional experience of the conductor. Prof. Kazandzhiev. In: Музика, вчера, днес. (Music, yesterday, Dimitar Hristov writes: “For example, the experienced today) - 6/1994, p.5-6. composer would find the defects of a music sheet even Maazel, Lorin. Интервю. (Interview) – IN: Списание ЛИК, LIK visually, without the help of his/her internal hearing and 41/1983. his/her hand automatically corrects the flow displayed Matheopoulos, Elena. Караян - живот, изкуство, работа. (Karajan – life,art,work.) In: Българска музика,( Bulgarian on the music score”30. The experienced conductors Music) , 2/1988, p.20. have the same ability - by gaining knowledge and skills, Ormandi, Eugene. Куриозите на репетиционната работа. their musical - aural and visual concepts are enriched, (Curiosity of rehearsal’s work). In: Музика, вчера, днес which on its part increases “the palette” of their (Music, yesterday,today), 1/1999. creative opportunities and the broadness of the mental Piryov, Gencho, Ljuben Desev. Кратък речник по . (Short Dictionary in Psychology). Sofia: Partizdat, processes participating in the creative act. психология 1981. Sivizianov, Andrey. Проблема мышечной свободы дирижера хора, (Problem about the choral conductor’s muscle’s freedom). Moskow: Music Publ. house,1982. 30 Hristov, Dimitar. Hypothesis for the polyphonic structure. Stanislavskii, Konstantin. Работата на актьора над себе си. (Actor’s work). Sofia: East-West PH, 2015. ISBN: 978-619- Sofia: Naukaiizkustvo, page 133. 152-690-1. Sternberg,Robert.J. Когнитивнапсихология. (Cognitive Psychology). Sofia: East-West PH, 2012. ISBN 978-619-152- 014-5. Teplov, Boris. Психология музыкальных способностей. (Psychology of Music Abilities). Moskow: Academy of Pedagodical Sciences PH, 1947. Haralampieva, Irina. Музикалната публика.(Music Audience). THEODORA PAVLOVITCH Sofia: Haini,2014. ISBN 978- is Professor of Choral 619-7029-20-8. Conducting and Head of the Hristov, Dimitar. Хипотеза за полифоничнияс троеж. Conducting Department at the (Hypothesis on polyphonic building).Sofia: Science and Art,1994. Bulgarian National Academy of Music. Hristozov, Hristo. Музикална психология. (Music She is also Conductor of the Vassil Arnaoudov Psychology). Plovdiv: Makros,1995. Sofia Chamber Choir and the Classic FM Radio Scherchen, Hermann. Учебник дирижирования. (Handbook Choir (Bulgaria). In 2007/2008 she conducted of conducting). In: Дирижерское исполнительство the World Youth Choir and was honoured by (Conducting performing art). Moskow: Music PH, Москва: UNESCO with the title Artist for Peace, due to 1975. the WYC’s success as a platform for intercultural Strauss, Richard. Десять золотых правил (Ten golden rules) dialogue through music. Prof. Theodora In: Дирижерское исполнительство Conducting performing Pavlovitch is frequently invited as a member of Art).Moskow: Music PH, 1975. Jury panels to a number of international choral Schumann, Robert. Quotation in Music Psychology by Hristo competitions, as conductor and lecturer to Hristozov. Plovdiv: Makros,1994. prestigious international events in 25 European countries as well as the USA, Japan, Russia, China, Hong Kong, Taiwan, South Korea and Israel. Since 2012, T. Pavlovitch has been a Edited by Shanae Ennis-Melhado, UK representative for Bulgaria in the World Choral Council. Email: [email protected]

11 IFCM NEWS INTERNATIONAL FEDERATION FOR CHORAL MUSIC

IFCM and the Qatar National Choral Association Working on the World Symposium on Choral Music 2023/2024 IFCM Press Release

12 Qatar Philharmonic Orchestra IFCM AND THE QATAR NATIONAL CHORAL ASSOCIATION WORKING ON THE WORLD SYMPOSIUM ON CHORAL MUSIC 2023/2024

IFCM PRESS RELEASE

In a historical first for the Middle East region, the in Doha, Qatar, in 2023. We welcome you to a land International Federation for Choral Music (IFMC) steeped in tradition, yet open to the world. welcomes the choral world to Qatar! At the moment, The signing ceremony of first agreement between when humanity is facing one of the biggest pandemics IFCM and QNCA was to have taken place at this year’s in more than 50 years, cultural events around the globe 12th WSCM in Auckland, New Zealand. Sadly, as with are on hold. Nonetheless, IFCM and its partner, the so many other events this year, WSCM2020 had to be Qatar National Choral Association (QNCA), are working cancelled. However, in the spirit of moving forward and hard on the next World Symposium on Choral Music better days ahead, we are happy to share a short video – the 13th WSCM 2023/24! The world’s largest, non- of the online official signing of the contract between competitive, international choral event will be held IFCM and QNCA. Plan now to join us!

13 CHORAL WORLD NEWS

CHORAL WORLD NEWS

Remembering Colin Mawby Chatting with Anton Armstrong Aurelio Porfiri A proud member of the International Federation for Choral Music for more than 30 years Choirs and Corona virus ... The Day After Andrea Angelini Aurelio Porfiri

Marktoberdorf International Chamber Choral Competition 2017 © ModFestivals 14 REMEMBERING COLIN MAWBY

AURELIO PORFIRI composer, conductor, writer and educator

SOME WEEKS AGO, OUT OF THE BLUE, I LEARNT OF THE DEATH OF THE BRITISH COMPOSER COLIN MAWBY. HE WAS ONE OF MY VERY GOOD FRIENDS, BUT IN RECENT MONTHS WE HAD NOT REALLY BEEN IN TOUCH, SO I WAS NOT AWARE OF THE RECENT DEVELOPMENTS IN HIS LIFE. I JUST LEARNT THAT HE PASSED AWAY ON 24 NOVEMBER 2019, AT THE AGE OF 83. I FELT TRULY SORRY BECAUSE I DID NOT GET THE CHANCE TO TALK WITH HIM BEFORE THIS FATEFUL EVENT.

I had been in contact with him on several occasions. years ago, and to which he was a contributor: “England He was a collaborator of my publishing company and has had a great influence on European performance generously sent me his music for publication. He was but we need to understand its problems. Take what is always very eager to collaborate and indeed we got along good and discard the remainder.” I think this is quite very well. He was also in juries in choral competitions a courageous statement from a British conductor, where I was the director of the jury. And finally, when because let us not forget that he was not just a I was working in Macau, I had the chance to invite normal conductor: he was in charge of the choir of him as visiting professor to the university where I was Westminster Cathedral for several years and then also working, so we spent several days together in Macau, China. On that occasion, I also carried out an interview with him, resulting in around 4 hours of audio, where he spoke about his life and ideas. I hope that soon I will be able to publish that interview in a book format, as a memory to this wonderful man. Yes, because he was a wonderful man, very British (with that kind of British aplomb we identify, perhaps wrongly, with this name) but also very approachable and friendly. He was fond of life and its pleasures. He loved good food, good wine, beautiful women, and that for me is always a good sign of someone that knows how to enjoy this short pilgrimage we have here on earth. He was also deeply religious, and we had many conversations about this topic, conversations that revealed our personal struggles and desires. For him of course, faith was a different matter compared to me. Even if we were both Catholics but being Catholic in the UK is certainly different from being Catholic in Italy. He had great respect for the tradition of sacred music and indeed he was also very careful in identifying the strength and weaknesses of the British choral tradition, as there are in any tradition. This does not mean he did not appreciate the great achievements of British choirs, but sometimes he found the sound of those choirs a little ‘cold’, and he was more appreciative of the sound of choirs from Latin countries, that were often not so Colin Mawby perfect from a technical point of view, but certainly had (9/5/1936 - 24/11/2019) a more expressive sound. As an example, let us see what he said in my blog Il Naufrago, that I coordinated

15 CHORAL WORLD NEWS

Colin Mawby with Gabriel Dessauer

managed other prestigious choirs. He tried to be very was gripping and deeply moving. The Gregorian chant honest with his ideas and feelings about music, even if was beautiful and hearing the Lamentations sung in the he deeply appreciated his own choral tradition. And he ancient tone was transfixing. Truly the prophet Isaiah did not intend to discuss Anglican or Catholic traditions, was again speaking to us from a distance of over two he was just giving general assessments on the quality thousand years: I was listening to a chant that Christ of the choral sound. When you really and honestly love would probably have heard. Although the liturgical something, you are also in the position to see the good reforms have had fine effects, we have also lost a lot. and the bad, as I am sure is true for musicians all over The sense of spirituality and reverence has been sadly the world. diluted. We need to make an appraisal of what has Nevertheless, he certainly also admired some parts of been lost and restore the best of it to the liturgy. The his country’s choral tradition, and even more he loved souls of worshippers cry out for the sense of mystery: the choral music tradition of the Church, a tradition liturgy must be God centred and not man centred.” that he contributed to a lot with his own compositions, We should not forget that the role of Christianity in the the most famous of which is Ave Verum that is sung development of choral music was huge, fundamental. all over the world. Indeed, it was for that piece that I He was a very good herald of this. first contacted him by email many years ago. But then I What kind of composer was he? He composed lots of discover other pieces by him: he published hundreds of choral music, mainly sacred music. Music that always pieces among which there are authentic gems of choral had that kind of beautiful spiritual character. His way of music. As I have said, he really loved choral music and composing was mostly harmonic - we often discussed its use within the Catholic tradition. This is what he said about this. He was not really into the kind of counterpoint in another post for my blog: “On Good Friday I attended writing that probably is most used in countries like Italy, ‘Tenebrae’ at the Brompton Oratory in London. A at least in the past and with some composers. We superb choir was singing the wonderful Responsories often talked of my late teacher, Domenico Bartolucci, by Victoria. The solemnity and dignity of the occasion for whom he had a deep admiration. There is also an

16 interview he did with him and I think it is still available to see on YouTube. But his style, as I have said, was more harmonic, while still being very Colin Mawby really interesting and full of pathos and enriched by the deep knowledge he had knew how to write of the choir. He really knew how to write for choirs in a very meaningful way. I think his music should certainly be performed more around the world for choirs in a because it is deeply inspired and deserving of better appreciation. Also, in some of his publications he re-harmonised chorales from the Christian very meaningful tradition, that are also very interesting, and I am sure students would learn a lot from these publications because it is here that we can really experience way. His music his superior sense for good harmonic solutions and alternatives. should certainly As I said at the beginning, he was a good and cheerful man. From our conversations, I felt he had not had an easy life, but he never lost that be performed joie de vivre even later in life. In the field of choral and sacred music, he will certainly be missed, because he was a protagonist and he left a great more around the heritage of his own compositions that can be performed by choirs with different technical abilities. As for me, I lost a dear friend and someone with world because it is whom I had a higher spiritual connection. It was one of the lucky encounters deeply inspired and of my life, and certainly in my heart he will never be forgotten. deserving of better appreciation.

Colin Mawby teaching in a choral workshop

AURELIO PORFIRI is a composer, conductor, writer and educator. He has published over forty books and a thousand articles. Over a hundred of his scores are in print in Italy, Germany, France, the USA and China. Email: [email protected]

17 CHOIRS AND CORONA VIRUS ... THE DAY AFTER

AURELIO PORFIRI CHORAL WORLD NEWS composer, conductor, writer and educator

I HAVE BEEN WORKING WITH CHOIRS AND CHORAL MUSIC FOR ALMOST FORTY YEARS, LONG ENOUGH TO BE ABLE TO SAY THAT WORKING WITH CHOIRS HAS TAKEN UP MOST OF MY EXISTENCE. AND SO NOW I NEED TO REFLECT ON THE SITUATION WE ARE LIVING THROUGH, CREATED BY CORONA VIRUS: A SITUATION THAT HAS SURPRISED US ALL, EMBITTERED US, FRIGHTENED US, BUT ALSO MADE US ASK HOW WE WILL BE ABLE TO BEGIN AGAIN ONCE THIS NIGHTMARE IS OVER. AND WE DO NOT EVEN KNOW WHEN WILL BE OVER, BECAUSE THE “EXPERTS” ARE VERY GOOD AT TERRIFYING US ALMOST EVERY DAY.

Beginning again will not be easy, since we are now how can you ever be sure that none of them will be terrified of being close to each other, of being exposed exposed to this virus? Then we should also consider to the famous droplets and perhaps being infected that – thanks be to God, from one point of view – in by someone who does not show even the slightest many of our choirs there are quite a few older people. symptom. We now see all of these things as potential But how can we protect them from someone who dangers, and ourselves as a potential danger to others. involuntarily, without any symptoms, could be a carrier Singing together in a choir is not the safest activity of the corona virus that is much more dangerous for the in these circumstances, since it requires physical elderly, as we now know? This is a problem perceived proximity between people who are emitting sounds by many choral conductors nowadays, who have found that also carry with them emissions of the famous tiny themselves suddenly without a job. The problem droplets. If you are singing in a choir of 40 or 50 people, concerns everyone, old or young, because anyone

18 can become infected and spread creating a virtual choir, using the the virus to family members who instruments offered by technology. As is often said, may be at risk because of age and This is certainly something to the importance of health conditions. reflect on, a type of activity that These would have seemed absurd opens up interesting possibilities certain things is questions even only two months for a future in which technology will ago. Yet this cataclysmic event has be ever more present in our daily understood only turned our whole lifeves upside lives. But these new possibilities down and threatens to also upset must not replace meeting people when these things our future. We need to think hard and singing as we stand side by are taken away. about how to protect ourselves side. Even if we do not want to until this virus is finally defeated, admit it, we truly need each other And now is the as we all hope it will be. Of course in all aspects of our lives: we need we do not want to stop all our choir to encounter others, to laugh with time to understand singing, which is so important for so others, to sing with others, to speak many of us, as a means of praising with others. We are social animals, how beautiful it God for some, and of socialization and choral activity is part of this. We was to meet our for others. As I have said many must think how to continue to do times, choirs are little communities what choirs have always done in all friends in the choir, where friends meet, people meet parts of the world: singing together their future life partners, and we and creating the experience of the to sing with them, all meet people who may become beauty of choral music. We must important fixed points in our overcome the trauma that has to be able to meet lives. Certainly we do not want to cut us off from one another and renounce all this, so we must find a not allow our fears to become an them on Sundays way to face the psychological block obstacle to building community for worship or for a created in these months in which with others. Let us be honest and we have been terrified by the idea admit that this is not easy. I am not concert or a choral that physical closeness can be sure if it is happening where you dangerous, not only with strangers live too, but here in central Italy performance of but even within our own homes. where I live, even though the virus I have seen some attempts at has not seriously affected my city, some sort.

Eric Whitacre’s vitual choir 19 you can see how people are very careful to avoid each other, always thinking We must not allow fear to chain that the danger may be everywhere. We have been strongly affected us; we are greater than fear, and psychologically, and this will stay with us much longer than the virus. the noble purpose of preserving We have to go back to meeting others, we need to find a way to be what choral activity will help us to find we have always been. As is often said, the importance of certain things is creative and effective solutions understood only when these things are taken away. And now is the time which can be implemented safely to understand how beautiful it was to meet our friends in the choir, to sing and in such a way that no one will

CHORAL WORLD NEWS with them, to be able to meet them on Sundays for worship or for a concert feel threatened by simply making or a choral performance of some sort. All this has now been denied us, and contact with other people. This will we cannot hide the fact that we feel its loss and we want it back. We cannot not be easy to begin with, because give corona virus the upper hand; we cannot permit that in 2020 a virus can we are coming out of a very dictate the way in which the entire human race has to live. We consider this difficult time of trial, during which to be a temporary interruption, a phase which took us by surprise and during our collective psyche has been which society did not respond adequately; and so we must try to begin subjected to almost intolerable normal life again, including the area of choral music, which – let us not forget pressure. But we will do it; I am – involves millions of people. Therefore, taking all necessary precautions, sure that we will do it; for the we need to put this terrible time behind us. Fear is a bad teacher. But if sake of the respect that we owe we are forced to wear face masks for safety reasons, this will be another ourselves and those around us, we obstacle to taking up our choral activity again, because singing with masks must do it. on is obviously not the same thing. We must think seriously about how we can maintain our choirs without placing ourselves and others in danger. Translated from the Italian by The situation is extremely complex since at every minute we are prey to a Giuseppe Pellegrino steady stream of alarming news that is fed to us by the media. Edited by Gillian Forlivesi, Italy/UK

Members of the Singing City Choir hold a virtual practice using the Zoom video meeting app. (Courtesy of Singing City Choir)

20 CHATTING WITH ANTON ARMSTRONG A proud member of the International Federation for Choral Music for more than 30 years

ANDREA ANGELINI ICB Managing Editor, conductor and composer

Andrea Angelini: Dear Anton, you which vocation was important, and a mission that incorporated a global have now been conducting the St. perspective and fostered the development of the whole person in mind, Olaf Choir for 30 years. How did body, and spirit. Its academics were excellent, and it had a strong religion you get in touch with them? department, a thriving music department, and great choirs. Anton Armstrong: I was 16 when But there was still one thing I wanted to know, “how many black students my pastor, Rev. Robert Hawk, told go to your school?” me that the St. Olaf Choir was Moe got a glint in his eye. “You’d make one more.” performing at the Lincoln Centre I thought that was a really honest answer, and I put St. Olaf on my list of in Manhattan. Knowing my love for colleges to visit. excellent choral music, my pastor naturally assumed I’d be interested Can you tell us about your background? Where did you study music and in this concert, but I had tickets to why? see the Moody Blues at Madison My parents, Esther and William Armstrong, supported my interest in music. Square Garden. They made extreme financial sacrifices for me to pursue my interest in He wasn’t one to take no for an music, including lessons, private schooling and being a member of the answer. Rev. Hawk went to my American Boychoir. parents, and my mother vetoed Carol and Carl Weber (graduates of Westminster Choir College) were the the English rock band. The St. Olaf musicians at my home church who started a children’s church choir when Choir put on a memorable choral I was in kindergarten. If it wasn’t for Carol, a major part of my musical concert, and the image of the journey would never have happened. She gave me my first solo when I was iconic purple robes worn by the six years old - which I can still sing - and provided us with incredibly wise choir stayed with me. training. She also introduced me to the American Boychoir. A year and half later, I attended Singing in that choir lit my fire for choral singing. While there were only three a Lutheran College fair on Long or four African American boys in the choir at the time, we were treated Island looking to strike out on my equally and were valued for our talent and how hard we were willing to own and find a school far from work. It was a transformative experience and established my standard for New York. There were long lines excellence in choral music. of students waiting to talk to Then of course came my time as a student at St. Olaf, where I learned from representatives of my top choice my predecessor, Dr. Kenneth Jennings, and conductors Dr. Robert Scholz colleges. Growing up in New York and Alice Larson. I still remember the first time I heard Alice conduct the has left me with a distaste for St. Olaf Manitou Singers. I’d never heard women sing like that. It wasn’t traffic, so when I passed—for the this little girl sound; it was a rich, womanly sound. I remember witnessing third time—a college booth with the way that Kenneth Jennings would take his hands, and in an instant a no line, I accepted an invitation by phrase would just turn. Finally, there’s Bob Scholz, the most pastoral of my the admissions officer, Bruce Moe, teachers, who cared deeply for the music he made, but even more for the to learn about St. Olaf College in human beings who created it. Minnesota. I remembered the St. I was also fortunate to be guided in my years of graduate study at the Olaf Choir and its purple robes. University of Illinois and Michigan State University by inspirational mentors The college appeared to have such as Dr. Harold Decker, Dr. Charles Smith, and Ms. Ethel Armeling. everything I was looking for: an Perhaps the greatest gift of my Illinois years was meeting my dear friend inclusive Lutheran tradition in and colleague of nearly 42 years, Dr. André Thomas.

21 Conducting a choir, especially at as high level as you developing a faith in God, care of neighbour, and care do, includes not only knowing the technique, but it’s of creation. Also, a desire to serve in the world while also necessary at times to be a life tutor, a friend, a not expecting that you were owed something in return. psychologist. What advice do you give to young Finally, faith in a God that would walk with you through conductors who want to start a career in this field? whatever challenges you face in life. As a young conductor, I tried to create a perfect Throughout my years as a conductor, that experience choral performance. Throughout the years, however, has guided me as I’ve tried opening the world of the

CHORAL WORLD NEWS I have learned that perfection is impossible. Instead, infinite creator to people of all ages. I realize there are I seek excellence as we share our voices together in many ways to experience that infinite creator, and for communal song. me, that God. I often feel closest to God while singing As an adult, a person whose influence has steered my or conducting choral music. life professionally is Helen Kemp, professor emerita of voice and church music at Westminster Choir College. Speaking about choral repertoire, to which repertoire do Her mantra, “Body, mind, spirit, and voice - it takes the you feel closest? whole person to sing and rejoice” has stayed with me A large part of my work as both a singer and conductor for more than 40 years. I credit her with shaping my has been rooted in the Western choral canon of Europe calling as a vocal music educator and conductor. and North America. Consequently, music of the church For young conductors, emphasis should not be placed has been a strong component of that, but I’ve also on the subject, it has to be on the person. We use explored secular music. music as a means of grace to reach the inner soul of I’m also drawn to folk music from throughout the world, those we have the duty and delight to lead in our choral especially the negro spiritual. The negro spiritual speaks ensembles. about the human condition - of pain and pleasure, joy and sorrow, and triumph over the worst indignities that Do you think that choral music can be not only a form can be put upon another human being. These elements of art, but also a way to find something greater than us, are what’s made this genre of choral music so beloved whether you call him God, interior peace or something throughout the world, and why I have especially enjoyed else? sharing it throughout my international conducting For me, the art of choral music is an expression and engagements. praise of thanksgiving for God, or whatever people call that infinite being. In a previous edition of ICB, there was a discussion Throughout my career, music of the church - sacred about ‘the culture of a conductor’. To explain this thought music - has been the vast majority of the music I’ve better, having culture is not only having perused many performed with choral groups. Part of my roots growing books or listened to many choral pieces, but being part up as an African American in the United States were of these ‘webs of significance’. Now, we cannot deny

22 23 DOSSIER CHORAL WORLD NEWS

that the bulk of the repertoire of choral music comes between choral communities from across the globe. from western music. It would be unfair to hide this kind At the symposiums I have been a delegate, lecturer, of self-evident truth. Some say that many conductors, masterclass instructor, and choir conductor. These because of their place of birth and cultural upbringing, gatherings have been some of the most important are not and never will be part of this kind of tradition events organized by IFCM, providing invaluable in the deepest sense. Do you think that any choir, networking and exposure to choral music from around no matter their cultural and geographical origins, can the world. perform any kind of choral music? I also value the continuing research of IFCM and its Your question raises an issue that is currently on work in developing nations. In the more recent years, its the minds of many vocal music educators in the 21st ability to bring people together through the internet has century, namely one of cultural appropriation. I don’t been crucial to developing communal song throughout think you must be of a certain race or culture to do the world. music of a certain race or culture. However, I do believe as we are rigorously trained to understand and perform You travel a lot as guest conductor and clinician. Where music of Western choral cannon, those same aspects do you feel at home? Which foreign country is closest of study and performance practice must be applied to to your habits and your ideas about the performance music outside of one’s own culture. and practice of the repertoire you conduct? And why? Conductors must take the time to study the culture of My international experiences have helped me learn a piece, aspects of its performance and music style, that our work can help build bridges and heal wounds. the use of language and dialect, in order to pay proper The songs we sing from different parts of the world homage to the people from which this music emanates. are often the way we enter a cultural experience very If this is done well, I believe music can be performed different from our own. If we can treat that music with from outside one’s own culture. respect and do our best to understand how and why that music originated, we start to understand the people The International Federation for Choral Music (IFCM) is who created it, and we find a commonality in how we a world choral network. In your opinion, what should be exist together. Once we begin singing together, our its main goals and tasks? differences of gender, age, race, ethnicity, nationality, I have been a proud member of the International religious expression or not, sexual orientation, and Federation for Choral Music for more than 30 years socio-economic standing don’t disappear, but instead and have had the opportunity to attend every World cease to become barriers. Symposium on Choral Music since the original in Vienna I must admit that wherever I’ve travelled in the world, in 1987. I was sorely disappointed the 2020 Symposium I’ve felt welcome. This has only strengthened my in New Zealand was cancelled due to COVID-19. opinion that when we sing together, we break down IFCM is an important bridge to build relationships the barriers that can divide us. I’ve spent a great deal of

24 given skills of singing. The voice is the most human of instruments. Through it, we find common ground between people, share each other’s songs and lives, and find a common path of humanity. This has been clear to me during the 23 years I’ve been part of the Oregon Bach Festival. Through this 50-year-old festival, founders Helmuth Rilling and Royce Saltzman have vividly showcased how people throughout the globe can make music with each other, come together, build bridges, and create enriching, life-long relationships through the art of choral music.

Finally, if you were not at St. Olaf, what else would you be doing and where? I started my career at Calvin College time in Norway and South Korea, and both of the countries have become (now Calvin University), conducting like second homes to me. Through the gift of choral music, I’ve made friends choirs at the institution and within throughout the world, and this has been one of the great blessings of being the community. More than most a conductor. people might understand, it was a very difficult decision to leave there Anton, I would like to ask you a question as an ‘Italian director’. Italy, when I assumed my current role at especially Rome and Venice, are considered the cradle of Renaissance St. Olaf in 1990. polyphony. Why is this music, even in the 21st Century, still so admired and However, I feel a vocation, a vocāre, performed? to St. Olaf. The music of the Renaissance is noted for the beauty and independence of The college is not perfect, but it is a the vocal musical line. This music also affords the singer and the listener to place where people come to study, create beautiful harmonies. There is also a close interweaving between the work, and strive to have a place text and music of these pieces that captures emotions of the human soul. of belonging. We live in a world That intersection touches us at the very core of our being. that is so divided, where people are so quick to find the things Going back to the St. Olaf Choir, what are your next projects with them? that separate us. One of the great The COVID-19 pandemic has turned our world and any plans I’ve had for the things about working in music - St. Olaf Choir upside down. We certainly are facing a new paradigm shift in especially choral music - is that we how we’ll even exist as the St. Olaf Choir in the near future. However, I hope can all find a place of belonging that, despite this pandemic, our future aspirations will come to fruition. and a place where we can express One great dream of mine is to bring the choir to Africa. I’m also eager to ourselves and find community with resume projects with several of the wonderful music organizations here those around us. in Minnesota, including the Saint Paul Chamber Orchestra, VocalEssence, Also, St. Olaf has been a community Magnum Chorum, and more. that has aspired to nurture and lift Finally, as I look ahead at my final years as conductor of the St. Olaf Choir, up “servant leaders” in whatever I consider the possibility of new recording projects, in whatever forms that our calling in life may be. For me, might take place. I also want to explore more the role of choral music as an this sense of calling – “vocare” advocate for social justice in the world! has been powerfully carried out as a member of the St. Olaf College Life is also made of dreams, some of them are probably impossible to fulfil. community and especially through If you had a special power, what would you do to make the world better the work and mission of the St. through choral music? Olaf Choir. This might be an idealistic aspiration, but if I had the power to do so, it would be that all people throughout the world be encouraged to use their God- Edited by Mirella Biagi, UK/Italy

25 IMPOSSIBLE INTERVIEWS

IMPOSSIBLE INTERVIEWS

The True History of the Vespers of the Blessed Virgin by Alessandro Grandi Andrea Angelini

Basilica of Santa Maria Maggiore, Bergamo, Italy, where Alessandro Grandi was maestro di cappella 26 THE TRUE HISTORY OF THE VESPERS OF THE BLESSED VIRGIN BY ALESSANDRO GRANDI

ANDREA ANGELINI ICB Managing Editor, conductor and composer

IT WAS EARLY MORNING ON 2 MAY 1630, WHEN THE TELEPHONE RANG IN MY COUNTRY HOUSE ON THE FIRST HILLS OF RIMINI. THAT ANNOYING SOUND TOOK ME BY SURPRISE... WHO COULD IT BE AT THIS HOUR, ESPECIALLY IN THESE GLOOMY TIMES, WITH THE BREATHS OF THE PLAGUE REACHING THE CITY OF BOLOGNA?

For over a year we had been (Monteverdi) in a tavern of the lagoon city where the latter was in charge locked in our homes, in keeping as Maestro di Cappella in San Marco and the former was his deputy. It is with the provisions of the Legate known that there was no good blood between the two, especially more of the Papal States, Cardinal recently when they were working together in the great basilica. In fact, Stefano Bonaccinus. His guards in 1610, Claudio had published his famous ‘Vespers of the Blessed Virgin’ wandered not only in the cities, as a unitary work, composed as a musical ‘unicum’. My friend Alessandro but also through the alleys of the had assembled one, for liturgical purposes, using pieces that he composed countryside often sowing terror in between 1610 and 1625. The fact that his ‘Vespers’ was a kind of patchwork someone who, in defiance of the is confirmed by the absence of the antiphons sung before and after the severe provisions but moved by Psalms and of the Magnificat. real necessity, dared to wander beyond the 175 feet allowed from their home. A few days earlier we heard of a farmer flogged for recovering his plow and a poor ox in a field a little further away. Unhappy, the henchmen also whipped the innocent animal. The news does not report whether, either out of ignorance or mercy, the soldiers spared the plow from the same fate. With these dark thoughts, not yet properly coordinated due to the abrupt awakening, I rushed to the device which continued in its undeterred sound. A lost little voice on the other side of the cable, that perhaps had lost any hope of getting an answer, said: ‘Andrea, it’s Alessandro, Alessandro Grandi from Bergamo’. Now, you can imagine my surprise at hearing those words! I hadn’t heard from him for almost four years, since September 1626 to be precise. I met him and Claudio A pope’s legate

27 During that September meeting, as soon as Claudio had left the tavern a little tipsy, I got hold of a handwritten copy directly from the hands of my friend who said to me: ‘Here, please take a look, I can’t stand that he composed a Vespers and I didn’t.’ I took a quick look at

IMPOSSIBLE INTERVIEWS that pile of paper and then, perhaps naively, I replied: ‘Alessandro, these are your previous works, you can’t compete with Monteverdi ...’. I think my answer annoyed him extremely, as he left that stinky tavern irritated and yelling I don’t know what insults, a mixture of The Landsknechts unrepeatable words that he must have learned during the Ferrara years borrowed from the usually said. ‘You had looked at it absently situation is serious, the plague is refined language of the Venetians. then, but I have to tell you that you decimating us and I would like to If I were not convinced that it had were wrong, my friend, I would like entrust you with the latest revision, been a ploy to leave me alone to you to publish it’. the one you will give to the press.’ settle the bill of what the two This news left me startled and with He had to be crazy to ask me ravenous mouths had consumed a touch of indignation. It was not this, when perhaps everything and gulped down, I would probably a masterpiece, perhaps a good could be discussed and viewed have now put down the receiver collection of songs, but how was it on Skypus, the new system of gracefully without waiting for any possible to invest time and money connection between the State of reply. But as I was aware of his in a project of dubious quality? the Church and the Duchy of Milan impetuous but genuine character, Or was I wrong? I had to check and Mantua. A quick consultation I also felt sorry for him as he had immediately, and I could do so gave us the answer that we feared lived for the past three years in the because the copy that he had given and that he perhaps already knew: city of Bergamo, which together me at that time still lay in some the Lanzichenecchi, on their way with Milan was a target of the chest in my basement. to Mantua had torn the cables terrible plague, so I waited for him I was surprised, however, by the leaving the population north of the to continue the conversation. ‘Do last thing he said to me: ‘Andrea, Po without any hint of what was you remember my Vespers?’, he come to Bergamo please, the happening south of the river. All I could do was to leave. I collected the essentials that I could use together with a whole variety of face masks, the PF4, FFPP1, TRP34, HMN67, which according to the noblemen of the place it was mandatory to wear in order to cross the respective border. Obviously, they were all the same, but each duke or prince made them on their own to pocket taxes and duties from the people. Finally, the papal scribe wrote a certificate in which I declared that I could go, at my own risk, to Bergamo for an ‘unspecified work commitment.’ After two days of travel, forced to change buggies every few hours, I entered the Duchy of Milan. I

28 Santa Maria Maggiore, Bergamo. Alessandro Grandi’s window is on the right side, second floor of the little house besides the church

assure you that the situation appeared to me in all its seriousness, really similar to what I would have read 230years later in Manzoni’s poem. At the gates of Bergamo I was amazed and I thought that hell really had to be there, so similar it was to what Dante had told me before. The terror of the absence and of the lazaretto sharpened the brain: the sick were not reported, the Monatti and their supervisors were bribed; from the clerks of the tribunal, deputed by it to visit the corpses, false certificates were received with money. Alexander had to be, if still alive, holed up in the rectory of Santa Maria Maggiore and so I thought of going there without delay. I ran away from a poor passer-by who I tried to ask for directions, but I was lucky to see the dome of the basilica standing out against the low profile of the other houses. Once in the small square I looked around to try to see a known face or just for help. ‘Andrea, you’ve arrived, come!’, shouted a gaunt figure from the top of a wall onto which small and half-closed windows faced. He gestured with his hand to indicate a door to the left of the building and I returned the greeting, happy to see him, perhaps not in good health, but alive. A very old face-mask, mod ORB22

29 We did not embrace each other (the strict rules on social distancing if not respected would have caused us serious trouble with the guards) and we talked all the time wearing the approved mask in use in Bergamo, the ORB22, which I did not have in my bag and therefore Alessandro generously deprived himself of one, giving it heartily to me. He knew that both he and I were short on time for various reasons and therefore our dialogue was reduced to dealing with what I was there for: the new edition of the Vespers of the Blessed Virgin. ‘Listen,’ he said to me,

IMPOSSIBLE INTERVIEWS ‘I also tried to make a virtual recording of it, I wanted to make you feel the beauty of the sound reproduced, in addition to the impression you could get from the paper; unfortunately I did not make it, many choir members died of plague, and then there were many problems with the connection that works in fits and starts. These are difficult times, my dear.’ A sincere emotion came over me: I was there, in front of that man who was aware of being a rickety boat on a stormy sea. He was putting all his hope in me to leave behind a work that, if not as beautiful as that by Claudio, was of excellent quality, and showed those characteristics of a lot of sacred music Alessandro Grandi (1590-1630) of the time - a combination of first and second practice with a very strong attention to the text and its affections. The next morning, after a sleepless night talking about that music and how I could help him, I left his house with the conviction that yes, his Vespers would be worthy of publication! The journey back proved to be much less difficult, except for a meeting from afar with the Lanzichenecchi near Poggio Rusco. Exactly five days after my departure, I was home again and I had in my hands those sheets that only in 2007 did I deliver to Rudolf Ewerhart, a German musicologist friend, who made that edition that we all admire today. You will wonder why I waited so long before deciding what to do. I have no answers to this question ... I have probably lived for many years with the Hamletic doubt whether it would be better to still serve a respected musician almost overshadowed by the famous Monteverdi or to deprive the world of a work perhaps not so interesting to be listened to. It was one morning at the end of June 1630 when a phone call from the eminent Doctor Ricciardo announced that Alessandro, his wife and his 10 children had died from the plague that still had no end in sight...

Claudio Monteverdi Edited by Louise Wiseman, UK (1567-1643)

ANDREA ANGELINI studied piano (MA) and choral conducting (PHD). His professional group Musica Ficta Vocal Ensemble is specialized in Renaissance Choral Music. He is frequently invited to lead workshops and lectures around the world. Andrea is the artistic director of the Rimini International Choral Competition, the Claudio Monteverdi Choral Competition and other Festivals in Italy and abroad. He is the President of AERCO, the Choir Association of Region Emilia Romagna, and the Managing Editor of the International Choral Bulletin (ICB). Email: [email protected]

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Performing Microtonal Choral Music, Part 2: Getting Your Hands Dirty Robert Lopez-Hanshaw

Marktoberdorf International Chamber Choral Competition 2017 © ModFestivals 32 PERFORMING MICROTONAL CHORAL MUSIC, PART 2: Getting Your Hands Dirty

ROBERT LOPEZ-HANSHAW composer and musical director

EMOTIONALIST PREAMBLE Why on earth would anyone try As a choir director, the majority of my experience is with youth and amateur to bring microtonal music into ensembles. Thus, I usually deal with a different set of concerns and priorities this ecosystem? Well, for one from many readers of NMBx might. thing, it will help hone everyone’s The first thing to know about choirs below the professional level is that, in intonational awareness—which my firm belief,we are in it for the community above all. There is pride in the can be sorely needed – but, on its technical execution, too, of course! But much more so, it’s about conveying own terms: there are new worlds emotion, and experiencing the same emotion, and thus creating and of emotion to be explored that are maintaining the bonds of community with each other and with an audience. unavailable with 12 equal tones In addition, it is quite common to encounter experienced choral singers who alone! have limited sight-reading ability, who rely instead on a finely developed However, a director in this skill at retaining and repeating melodies that they hear. The notation then circumstance needs to sell the becomes, as it was in medieval Europe, more of a memory aid than a set piece in question to a perhaps of explicit instructions. skeptical ensemble. Use your entire boundless enthusiasm to support the methodical techniques below. If the singers like you, they’ll give it a chance. With all caveats out of the way, then, let’s get to the technical side.

THE TECHNICAL SIDE For teaching microtonal passages, I advocate a “bimodal, target- based” approach. I chose this name because I needed a title that was both accurate and impressive sounding for a paper proposal. (It worked.) But here’s what I mean: Bimodal – Requiring an integrated awareness of both the horizontal A facsimile of the manuscript for ‘Iubilate deo universa terra’ which shows a and vertical aspects of every pitch series of unheightened cheironomic neumes added to psalm verses. change. That is, one must keep in mind a new pitch’s relationship The joy is that it brings the experience of communal music-making into to the pitch it just left, and also the reach of a very large population. The challenge is that the director is its context within the sonority very often, out of necessity, a teacher. So, for amateur choirs, there is no in which it arrives. In microtonal guarantee that the singers will have the whole-score awareness that is a music, these aspects are often hallmark of elite ensembles; and for many, there is basically a guarantee independent. that they won’t! Target-based – Relying on anticipating the familiar, whether

33 melodic or harmonic, or indeed both. When this is spot on two levels. In one sense, they’re singing a done, intervening things can more easily fall into place, tritone up from the previous note. But in another sense, even half-unconsciously. they are occupying a very clear “home” in the resultant These two tactics are already necessary for being a harmony, which has nothing to do with tritone-ish-ness. good choral musician within standard repertoire, but it’s In microtonal music, it’s even more important to important to make them explicit when we’re working maintain these two separate levels. This is because with microtonality. A useful step toward using them such music inevitably calls for singing some unfamiliar CHORAL TECHNIQUE explicitly in microtonal pieces is using them explicitly horizontal intervals—and the singers’ natural instinct for challenging tonal passages. So, a director might will be to land on a verticality that’s equally “unfamiliar,” work on these tactics during the semester immediately i.e. dissonant, and this instinct is likely to be wrong. before a microtonal piece is even on the program. A NOTE ON TARGETS A TONAL EXAMPLE OF THE BIMODAL STRATEGY We now move on to the “target-based” part of the One illustrative passage is in Poulenc’s O Magnum approach. In microtonal music, for example, if your choir Mysterium. Among many intonational trouble spots in needs to sing an unfamiliar chain of small intervals— this piece, consider the tritone in the opening tenor, then give them a rock-solid idea of the interval they are which reappears few times afterward: encompassing, and the intervening tones can almost unconsciously fall into place. They can be refined later, in a second step. To reinforce how easy this can sound when modeled, the below is an excerpt from an interview of Jacob Collier, where he blithely does that sort of thing to a minor third. Try it yourself!

June Lee’s transcription of this phrase, from a 2017 The first three measures of Francis Poulenc’s4 Motets interview video. June Lee, Interview: Jacob Collier, Part I. pour le temps de Noël, FP 152. (https://www.youtube.com/ https://www.youtube.com/watch?v=DnBr070vcNE - His full watch?v=cOVAJI7SLXE) discussion of this subject starts at 10:12, but come on, go watch the whole thing. The guy is so hip, it’s surreal.

Most singers can pull out a tritone, but it’s not a reliable interval. It’s not uncommon to need to be reminded what it sounds like, using Maria1 or the Simpsons theme2 as a mnemonic. (Here’s a heartwarming comment thread from the Simpsons video:) Even when everyone has it securely, each individual will execute it slightly differently, especially when neither of the tones involved acts as a leading tone. The resultant group pitch can be fuzzy. And, because it’s a “dissonant” horizontal interval, there is often the expectation of a dissonance where it lands. So, you sing it slowly, tune that chord on a long tone— and it becomes apparent that the “Cb” is in fact a B natural, the third of a G major! The tenors are now, ideally, experiencing that trouble

1 (https://www.youtube.com/watch?v=DyofWTw0bqY&t=31) 2 https://www.youtube.com/watch?v=Xqog63KOANc

34 The target-based approach is not limited to melodically you to make that leap, by making you memorize the filling in familiar intervals. On a broader scale, it’s about letter-sounds, then confronting you with easily decoded providing a series of conceptual anchors throughout a combinations (and then, not-so-easy ones). piece—where singers can regain their footing, if they The principle here is important. Despite the appeal of a happen to lose it on the way. This can be target melodic “brute force” method, such as learning a piece by rote intervals as above; but also target harmonic intervals to from a synthesized recording (newly easy to produce, tune to (e.g. for entrances), or target chords. due to technology!), that tactic will not succeed for The novelty here is that the targets need not be most people—because they haven’t internalized the musically prominent within the piece—they can occur building blocks to make the new intervals “stick.” And on weak beats, or at de-emphasized places within a many might be unwilling to make that huge technical phrase, etc. They only need to be already familiar to leap in the first place; it’s not why they’re in choir. the singers, who can then use them to recalibrate. So, we need to look at how we can provide the For example, an exotic cadential sonority might be the scaffolding. musical goal, but does not need to be the conceptual We’ve already covered two important things which target—that role could be an adjacent, less important, happen in normal choral singing, and can be applied more familiar sonority. to microtonal singing. What now follows is a list of Here’s an instance of that in a piece I wrote (video of additional concepts, each building on the previous, which can be viewed on NewMusicBox3): and some resources to master them. There are two pathways, a just intonation path and an equal-division path.

JUST INTONATION PATH: EXPRESSIVE INTONATION Ironically, this path begins with the opposite of Just Intonation: “expressive intonation4.” None other than Ezra Sims, the great exponent of 72 equal divisions of the octave, was set upon the microtonal path5 by his undergraduate choral conductor, Hugh Thomas. Thomas insisted on his ensembles singing very high leading tones when resolving to tonics, and very low 4ths when resolving to 3rds, This goes from a Just A major chord, to a 7:9:11 in the among other things. Under such influence, says Sims, harmonic series of B twelfth-tone-flat, in my preferred “you are liable to find it hard ever again to believe (no notation for 72 equal divisions of the octave (or matter how much the keyboard instruments may try to “72edo”). The latter is surprisingly easy to nail, because convince you it is so) that there is, for example, one you’re leaving a very familiar place, each part moving thing which is G-sharp, one frequency that defines it for basically by quarter step—a distance which can easily ever and ever, Amen.” be practiced. The common tone also helps. Expressive intonation, at its crudest, is very intuitive. (Exaggerate the tendency of the tendency tones!) So, BUILDING THE SCAFFOLD if it can achieve the goal of knocking singers out of a The other thing that should guide your microtonal fixed-pitch way of thinking, then it smooths the way teaching is the educational idea of scaffolding, or the forward considerably. “zone of proximal development.” All this means is that every new concept needs to relate to immediately adjacent concepts; and the adjacent concepts give rise to insight at the individual level. 4 Pamela Hind O’Malley, Cellist Pablo Casals on Expressive For example: You don’t learn to read by someone telling Intonation. https://www.thestrad.com/playing/cellist-pablo-casals- you how to read. There is no way to do it except making on-expressive-intonation/1434.article the connection on your own between individual letter- 5 Ezra Sims, Yet Another 72-Noter. Computer Music Journal. Vol. sounds and the way they combine into words. Your 12, No. 4 (Winter, 1988), pp. 28-45 grade-school teacher just provided the conditions for

3 Robert Lopez-Hanshaw, Vokas Animo (Performing Microtonal Choral Music: The End Product). https://nmbx.newmusicusa.org/ vokas-animo/

35 ACTUAL JUST INTONATION EXTENDED JUST INTONATION Fahad Siadat has a series of articles, to be continued, Now we get into the weird stuff. It is possible, with on the website of his publishing company,6 which much repetition and a rock-solid reference, to memorize introduce the subject of Just Intonation for choirs. Some and reproduce intervals of the higher overtones of the fuller resources currently available include Harmonic harmonic series. Experience by W. A. Mathieu, which I mentioned in the One possible reference is overtone singing,9 which— last article; and The Just Intonation Primer by David B. on a low fundamental—can reliably produce harmonics CHORAL TECHNIQUE Doty, which is rather more direct. at least up to the fourteenth, and perhaps further. A A practical choir director might choose only a few retuned digital keyboard is another potential resource. intervals to work on. Major thirds and harmonic 7ths However, there is a remarkable set of exercises are useful to start with, because they are easy to available, too: Andrew Heathwaite devised a system demonstrate. Bring in a cellist to play natural harmonics for singing through every possible interval that occurs and compare them with the piano! Bring in a high-level between members of a given group of overtone- barbershop quartet to “ring” some chords! At first, based pitches, charmingly called Singtervals.10 Others you’re just developing the idea that there are several have elaborated on this.11 It is surprisingly logical and available “flavors” for a given interval, each with a intuitive, using a slight alteration of Kodaly’s movable- different function. do, chromatic solfège syllables. Use what’s relevant to the piece at hand. If your choir If a singer were to make listening to, understanding, and adds only the harmonic seventh to their vocabulary, singing this type of matrix a part of their daily practice, then that’s enough to start working on something like they would soon be able to approach a strictly overtonal Ben Johnston’s I’m Goin’ Away. Indeed, Jeff Gavett, (or undertonal) piece like Henk Badings’ Contrasten the director of the contemporary vocal ensemble without much trouble. Ekmeles, has successfully led college ensemble clinics on Johnston’s Rose – again, a piece in which the only QUARTER-TONE PATH: IN-BETWEEN TONES “new” sound is the harmonic seventh. Starting again at the beginning of a different path, we can use people’s ability to sing equal-ish tones in QUANTIFYING COMMA SHIFTS between the pitches of a small and familiar interval, to Ross Duffin is well-known for his book on meantone begin to develop a true quarter-tone framework. At first, and well temperaments, How Equal Temperament you could simply add an exercise to normal warmups: Ruined Harmony (And Why You Should Care). But he Sing F - Gb, then F - F quarter-sharp - Gb, and then the also wrote a wonderful defense of, and method for, same in the opposite direction. The outer tones are, of Just Intonation practice, which hinges on locating and course, easily checked on the piano.12 using the syntonic comma. This is a very helpful way of thinking systematically about tuning thirds, sixths FULL 24-TONE SCALE and sevenths compared to fourths and fifths. It is Where it gets interesting is extrapolating this simple freely available online.7 He even includes exercises for technique to all intervening positions in the chromatic practicing typical problematic intonation situations that scale. Robert Reinhart, who teaches music theory can occur. and aural skills at Northwestern University, assigned The Hilliard Ensemble and Nordic Voices regularly intermediate vowels to the quarter-tonal pitches incorporate this basic system8 (different in the between solfège notes, such as (in IPA) /ra/ /rɛ/ /re/ particulars) into their practice. If your choir sings Renaissance counterpoint one semester, looking at intonation through this lens, then the following 9 https://www.youtube.com/watch?v=vC9Qh709gas semester could extend the microtonality further: 10 Andrew Heathwaite, Singtervals. https://soundcloud.com/ andrew_heathwaite/11-limit-singtervals 11 Casey Hale, N-Odd-Limit Diamond Solfege. https://archive. org/details/n-odd-limit_diamond_solfege 6 https://www.seeadot.com/ 12 Here is a clip of the Tucson Symphony Chorus doing this 7 https://casfaculty.case.edu/ross-duffin/just-intonation-in- activity, while warming up for rehearsing my piece vokas animo: renaissance-theory-practice/ https://www.youtube.com/watch?v=yRHH1ZYZEx8 8 Frank Havrøy, ‘You Cannot Just Say: “I Am Singing The Right Note”’. Music & Practice, Volume 1. https://www. musicandpractice.org/volume-1/intonation-neue-vocalsolisten- stuttgart/

36 /rɪ/ /ri/13 for all varieties of the second scale degree In fact, a recent study by Matthias Mauch et al.15 shows re. He then designed—and used in the classroom— that, even for experienced singers, the Just Noticeable progressive exercises to train the ear on the new Difference and the median pitch production error on intervals. In many cases, these involve first singing a given note both hover around 18 to 19 cents—a known intervals; then filling in the gaps with quarter bit over an entire twlefth-tone! The study dealt with tones; and then ultimately singing only the altered solo melodic singing, and intonation accuracy can be pitches, while audiating the more familiar surrounding somewhat higher in harmonic singing16 (especially in pitches. barbershop17); but not by as much as you think. This is just an extension of sight-singing pedagogy in (Different sources give different amounts for the Just movable-do systems! For example, to teach the pattern Noticeable Difference in various contexts, and 5-8 cents do-fa-la (difficult for beginners), one can repeatedly sing is the usual value cited. But in the case of sung pitches, a major scale, and gradually remove the intervening a little more chaos seems to reign.) tones re, mi and sol; first audiating them, and then Thankfully, in case you were wondering, microtones making the cognitive leap to simply singing do-fa-la really can be learned,18 and ear-training in 72edo really without any crutch. does have the effect of increasing pitch discrimination Reinhart has presented on this subject and is currently and production ability. It tames some of the latent working on a systematic collection of quarter-tone chaos of music-making. solfège exercises, graded by difficulty. You, too, could use this basic framework to divide, say, THE END RESULT semitones into groups of three sixth-tones—or whole If you have gone through all of this with your choir, then tones into fifth-tones, if you’re singing Renaissance you’re obsessive, and they’re all saints. What you should enharmonic music.14 The specific vowels in your really do is pick and choose among these possibilities, extended solfège don’t matter that much, as long as based on what’s going on in the piece itself. This is what they’re consistent. I have done. However, where I might not yet have used a particular technique myself, it has been field-tested by GOING DEEPER: 72-TONE SCALE others. They all really do what they claim. Julia Werntz is the current bearer of the 72edo aural skills tradition at the New England Conservatory, CONCLUSION: PRACTICALITIES succeeding Joe Maneri. She teaches students to hear, Here are a few miscellaneous suggestions I can give perform, and compose with twelfth tones—that is, about teaching microtones to choirs. quarter-tones each further divided into thirds. Her class • Use warmups to reinforce new musical concepts, begins by developing a quarter-tone framework, and if that wasn’t clear already. Why waste time singing elaborates from there. The course textbook, Steps to major scales or arpeggios the whole warmup, when the Sea, is both highly accessible (with plenty of audio you could be practicing quarter tones by repetition, examples) and readily available. or building harmonic-series chords? This reduces the By the time we’re getting into twelfth tones, the Just teaching time on the microtonal piece itself. Intonation and equal-division paths begin to merge. • Absolutely do not play a tone cluster in place of an For singers specifically, the simpler Just Intonation intervening tone, if you are modeling a microtonal intervals correspond so precisely with pitches in the melody on a standard piano. This does nothing for gamut of 72 tones per octave, that the difference—a imagining the pitch (do we “hear” a D, when C-E is maximum of about 5 cents, and usually under 3—is literally impossible to produce with the voice. 15 Matthias Mauch, Klaus Frieler, and Simon Dixon, Intonation in unaccompanied singing: Accuracy, drift, and a model of reference pitch memory. Journal of the Acoustic Society of America 136 13 This vowel distinction is present in English and German, but (1), July 2014. absent in many other languages. For these languages, other 16 S. D’Amario et al., A Longitudinal Study of Intonation in an a intermediate vowels might be substituted, such as /ra/ /rø/ /re/ / cappella Singing Quintet. Journal of Voice 2020 Jan; 34(1):159. ry/ /ri/. e13-159.e27. 14 Elam Rotem and Johannes Keller, Emilio de’ Cavalieri’s 17 B. Hagerman and J. Sundberg, Fundamental frequency mysterious enharmonic passage. https://www.youtube.com/ adjustment in Barbershop singing. Speech Transmission watch?v=-tyIvhv1hc0 Laboratory Quarterly Progress and Status Reports. 21 (1) 1980: 28-42. 18 Charles Norman Bates, Developing the ability to recognize microtones. PhD dissertation, 1992.

37 a project of played? Hell no! So why would Pure Data20 without much fuss, which is also free; or you could shell out we hear a D quarter-sharp when for PianoTeq Standard,21 which has professional-quality sound and very D-Eb is played?), and it models good microtonal tuning controls. There are many other options, but these a dissonance, which the choir are a start. will obligingly give you. Better to • Working closely with your accompanist is critical, especially if any skip over the altered pitch—or keys are remapped drastically! But again, if you are the kind of person better yet: who’s reading this, your accompanist is probably game for it. CHORAL TECHNIQUE • Model with the voice whenever • Do all the normal choral stuff first – speak the piece in rhythm, aim possible. This is not only easier for precise cutoffs, use expressive phrasing, interpret the lyrics – so that to follow than a keyboard, but they realize how much they already know how to do. it also demonstrates that the • Proper breath support is absolutely indispensable. Unfamiliarity passage is, in fact, performable. causes lack of confidence, and lack of confidence causes improper • Retune the keyboard, if it’s support, and improper support causes sagging pitch and bad timbre, 13 December 2020 digital. The task is now basically which makes the project infinitely harder. So, never lose sight of that trivial, with available technology; bedrock of a well-supported sound and come back to it often. but it may not be so for you personally. If that’s the case, Most importantly, you have to convey joy in the music. And isn’t that what and you’re the kind of person it’s always about? WORLD CHORAL DAY who would read this, then you assuredly have friends who are This article was originally published in NewMusicBox (https://nmbx. with the possibility to join throughout the entire month of December big nerds like you, except with newmusicusa.org/), the web magazine from New Music USA, and is computers. You can ask them reprinted with permission. a favor or hire them to do it for you. BitKlavier19 is free software Edited by Olivia Scullion, UK with an easy learning curve; if Share your passion with the world! they can program in Max/MSP, then they should be able to use Since 1990 th 20 https://puredata.info/ 19 https://bitklavier.com/ 21 https://www.modartt.com/pianoteq 30 edition Despite many types of choral events being postponed and cancelled due to the current pandemic crisis, we are announcing the planned date for World Choral Day in 2020. We will continue to monitor this uncertain situation ROBERT LOPEZ-HANSHAW is the Music Director at Temple Emanu-El in Tucson, Arizona, and Guest Composer in Residence with the Southern Arizona Symphony Orchestra. and shall make decisions accordingly. He is also the editor of “Practical Microtones”, a compendium of fingerings and playing techniques in 72tet for all standard orchestral instruments, to be published in early 2021. Lopez-Hanshaw is a clinician on the pedagogy of microtones and of the Ashkenazi Jewish prayer modes, at events such as the North American Jewish Choral Festival, the BEYOND Microtonal Music Festival, the Guild of Temple Musicians and the North American Saxophone Alliance Biennial Conference. His pieces have been commissioned by community and religious organisations in Southern Arizona, as well as individual performers throughout the US. His piece “vokas animo”, for choir and full orchestra in 72-tone equal temperament, was premiered in January 2020 by the Tucson Symphony Orchestra and Chorus. Email: [email protected]

38 More info: www.worldchoralday.org a project of

13 December 2020 WORLD CHORAL DAY

with the possibility to join throughout the entire month of December

Share your passion with the world! Since 1990 30th edition Despite many types of choral events being postponed and cancelled due to the current pandemic crisis, we are announcing the planned date for World Choral Day in 2020. We will continue to monitor this uncertain situation and shall make decisions accordingly.

39 More info: www.worldchoralday.org COMPOSER'S CORNER

COMPOSER'S CORNER

Choral Music is an Expression of our Souls and our Social Togetherness Interview with John Rutter Andrea Angelini

John Rutter 40 CHORAL MUSIC IS AN EXPRESSION OF OUR SOULS AND OUR SOCIAL TOGETHERNESS INTERVIEW WITH JOHN RUTTER

ANDREA ANGELINI Choral Conductor, Composer, ICB Managing Editor

Andrea Angelini: John, you have a wonderful career as (like the Palestrina Sicut Cervus) where I believe that, at professional composer. What is your current approach one time or another, I have sung every part. to the amateur choral world? John Rutter: I love to write for amateur choirs, and Conducting, singing, composing, arranging... four to work with them. I also think it’s important to draw different aspects of a musician who wants to devote new people into the world of choral singing, and for his/her life to choral music. Is it possible to become a many years I have been leading ‘Come and Sing’ days true expert in everything or is it maybe better to pursue for anyone who wants to just enjoy a day’s singing, only one thing? explore choral repertoire, and experience the wonderful I have always believed that if you want to be rich pleasure of being in a choir. It is good that we now and famous, concentrate on one thing and pursue have a number of fine professional choirs and vocal it obsessively. If you want to have an interesting and ensembles around the world, but let’s remember that fulfilling life, do lots of different things, whatever the huge majority of choirs are made up of children, interests you. I’m not much interested in money or students, or amateurs. Let us not cut ourselves off fame, but I am interested in many aspects of music: from them or look down on them. composing, arranging, orchestrating, conducting, talking about music, making and producing recordings . Let’s start from the beginning of the adventure… Do . . the brain is a very big storeroom, and there is space you remember how you first came into contact with in it for many ideas and skills. And I do believe that one choral music? branch of music nourishes another: I think I probably I was four years old! At my nursery school, each day compose better because I have long experience of began with singing – all of us together. My mother kept conducting, I write better for voices because I also my first school report, and the report on music said write for orchestras and solo instruments, I am a ‘John sings well if he sings softly’. I must have been better recording producer because I understand what over-enthusiastic. I soon discovered I was no good at it feels like to be a performer. There’s nothing wrong sports like football, but I got the same satisfaction from with specializing, but for me I don’t think it’s necessary being in my school choir: I was part of a team, and could to specialize. Was it Leonardo da Vinci who said, ‘Nihil contribute usefully to a team effort. And you don’t get humanum a me alienum puto’ – I don’t consider anything cold, wet and muddy singing in a choir! I was told I human is alien to me. He was saying that everything had a good singing voice as a treble, and I might have was interesting to him. A good maxim. auditioned to be a cathedral chorister, but at the age of eight I was not sure I wanted to be at a boarding school The choral repertoire is huge: from polyphony to (in England most cathedral choir schools are boarding contemporary music through baroque, romantic, lyric, schools) and instead I joined my school chapel choir. gospel, serial music. Should choirs attempt to do It was a very good choir, and I sang the same sort of everything or, if they specialise, what should be the repertoire – Palestrina, Byrd, Monteverdi, Bach, Brahms criteria for choosing the styles they perform? and so on – as I would have experienced in a cathedral That depends on the personality and expertise of choir. As I grew older, I worked my way down the four the conductor. Under the right leadership, a choir voice parts, and there are some pieces of church music can master music of almost any style, but if the

41 conductor has a special affinity for one particular type of music, maybe better to focus on it rather than spend time with music that conductor really doesn’t connect with or like – the lack of connection will transmit itself to the singers. Of course, sometimes both choir CCOMPOSER’S CORNER and conductor can go on a voyage of discovery together. I remember the first time, many years ago, that I conducted the Brahms Requiem. At the time, I wasn’t sure that I quite ‘got it’. As rehearsals progressed, it was exciting for both the choir and for me to realize what a fabulous work it is. Sometimes you have to unwrap the package before you find the treasure inside.

Again, about the repertoire. There complicated and difficult, and music will not be well served. is often a debate about the way they will play it. Most choirs, as It’s a balancing act. In general, I to compose choral music today. I said in my first answer, are not find in writing choral music that Sometimes it looks like composers professionals, and their level of I need to present my ideas in the do not have the possibility to affirm musical and technical skill varies. simplest possible form, stripping their style but mostly they need It is important for composers of away all unnecessary complexity. to follow what the music market choral music to know the choir, It’s actually harder to write a simple is asking for. To elaborate on this: or type of choir, they are writing piece than a complex one, because 90% of the choirs are amateur; this for, and how much rehearsal they the simpler the music, the more it affects the possibility to perform will be able to have. It is good to stands naked before the listener very complicated music. Are we stretch your performers – if all the and the greater the risk it will just losing the music of our time? music they sing is in their comfort be banal or derivative. We don’t It is true that writing choral music zone, without much technical have the space here to discuss presents a special challenge. Most challenge, they will get bored. If it in depth the divide that opened orchestras around the world are is far beyond their technical ability up (sometime in the nineteenth expert professionals, and you can (and the ability of the conductor), century) between ‘high art’ music write anything, no matter how they will get discouraged and the and popular forms of music. At the start of the nineteenth century, Schubert could write both serious symphonies and light dance music, using the same musical language. By the end of the century, you can safely say that Johann Strauss couldn’t have written Tristan and Isolde and Wagner couldn’t have written The Blue Danube. Up to about the time of Mahler, no composer could have survived without a strong gift for melody; in the twentieth century, Stravinsky confessed ‘I lack the gift of melody’, but in his world of composition, it didn’t matter because concert music and opera had taken a different direction, while melodic music found a home in the worlds

42 of operetta and popular song. reverberation which ideally suits his choral music. Melody is important to me – I think music should be We cannot always recreate the liturgical context of rooted in the two fundamental human activities of sacred music, but sometimes that’s a good thing. song and dance – and so I would describe myself as I imagine the chatter of the congregations and the half composer, half songwriter. The more a composer clanking of the censers in the Lateran Church, or the inclines towards songwriting, the more distant that interminable sermons in Bach’s churches. Maybe it’s composer’s work is from the concert-and-opera world preferable to sit quietly and enjoy the beauty of sacred of today, but who is to say that the language of those music performed in a Tallis Scholars concert. forms is truly ‘the music of our time’? At a conference I attended in Rome, I posed the question ‘when the Choral music is a big net. There are a lot of organizations history of Italian twentieth-century music is written, will that are building bridges between countries to make the the important composers be seen as the two Luigis, world a better place through choral music. You know, Nono and Dallapiccola – or Ennio Morricone and Nino there have been examples of singing revolutions even Rota?’ I don’t believe there is one musical mainstream up to thirty years ago. Recently, England has decided to any more, just many streams that occasionally flow exit from the EU. Two different attitudes? What is your together but are most often separate. We live in a perception? diverse society, and so long as we respect and learn Groan! If only the world was run by musicians rather than from each other, that’s fine. politicians. We would have more harmony, for a start. Musicians know that we live in one world and we are In your opinion, is there a right venue for each kind of all linked by bonds of humanity that go beyond politics repertoire? My friend Peter Phillips (the conductor of the and national boundaries. We must all be communitaire. Tallis Scholars) once told me that there is no specific connection between the text and the venue at which a The last question, the most complicated probably. What choir is singing. Is it possible for you to make singing a is choral music? sacred motet in a concert hall attractive? The direct answer is that it is music written for many It is paradoxical that the biggest audience for sacred voices to sing together. The deeper question is what it music is nowadays in the concert hall and on record. means in our society, and I see it as an expression of our Palestrina or Victoria would never have expected their souls and our social togetherness. I have said this many Mass settings to be heard in concert halls, with all the times, but choral music brings people together, and movements following directly on from each other, but it brings peoples together. It can draw on an amazing the world has changed since their time. It is always repertoire of music, stretching back over a thousand best if music is heard in the same sort of acoustic years and many countries, and it can be anything from a setting it was written for, I certainly always prefer to little madrigal or barbershop group to a mighty massed perform Gregorian chant and Renaissance polyphony in choir singing Beethoven 9. It brings an extraordinary reverberant churches – and not all reverberation is the physical, emotional and spiritual satisfaction to those same. The marble churches Palestrina wrote for give you who take part in it. And, as the English author Kingsley a bright, ringing reverberation which suits the high tenor Amis once said, it’s the most fun you can have with your parts in, say, the Missa Papae Marcelli – whereas the clothes on. stone churches William Byrd worked in have a darker Edited by Katie Maxfield, Canada

JOHN RUTTER was born in London and studied music at Clare College, Cambridge. He first came to notice as a composer during his student years; much of his early work consisted of church music and other choral pieces including Christmas carols. From 1975–79 he was Director of Music at his alma mater, Clare College, and directed the college chapel choir in various recordings and broadcasts. Since 1979 he has divided his time between composition and conducting. Today his compositions, including such concert-length works as Requiem, Magnificat, Mass of the Children, The Gift of Life, and Visions are performed around the world. His music has featured in a number of British royal occasions, including the two most recent royal weddings. He edits the Oxford Choral Classics series, and, with Sir David Willcocks, co-edited four volumes of Carols for Choirs. In 1983 he formed his own choir the Cambridge Singers, with whom he has made numerous recordings, and he appears regularly in several countries as guest conductor and choral ambassador. He holds a Lambeth Doctorate in Music, and in 2007 was awarded a CBE for services to music. Email: [email protected]

43 REPERTOIRE

REPERTOIRE

The Challenge of Choosing Sacred Many Voices: The New Polyphony in Choral Works by Indonesian Choir Anglo-American Choral Music of the Directors Twenty-First Century, Part One Agastya Rama Listya Graham Lack

44 Cantemus Children’s Choir, cond. Dénes Szabó (Hungary) at the World Choral Expo 2019, Lisbon, Portugal © Ki Adams THE CHALLENGE OF CHOOSING SACRED CHORAL WORKS BY INDONESIAN CHOIR DIRECTORS

AGASTYA RAMA LISTYA choral conductor and composer

INTRODUCTION Indonesian choirs, especially those in universities, have from Bandung; 2) Athitya Diah Monica from Yogyakarta; developed remarkably during the last two decades. 3) Andri Dianasari from Semarang; and 4) Annas Dwi This growing enthusiasm, of course, is not entirely Satriyo from Malang. unrelated to the rapid growth of choir competitions in Arvin, who holds a B.A. degree from the Faculty of the country. Interestingly, student choirs in Indonesia Communication at Padjadjaran University and an are not only performing admirably at the national M.A. degree from the Faculty of Music Education at level but at the international level as well. In 2015, Indonesia University of Education, is the director of the for example, the Gitasurya Student Choir from the Padjadjaran University Student Choir and the Student University of Muhammadiyah, Malang, won first Choir of Bogor Agricultural University, «Agria Swara». place in the Mixed Choir category at the 9th Rimini Arvin has been directing “Agria Swara” for sixteen International Choral Competition in Rimini, Italy, as well years. as at the Concorso Corale Internazionale of Puccini in Athitya has two bachelor degrees, one in Chemistry Torre del Lago, Italy. In 2017 the Gadjah Mada Choir from Brawijaya University in Malang and the second in from Yogyakarta took first prize in the Musica Profana Music Composition from the Indonesian Institute of the category at the 23rd Malta International Choir Festival. Arts in Yogyakarta. Athitya has been the director of the The highest achievement was attained by the Student Gadjah Mada University Student Choir – a choir with a Choir of Padjajaran University, which received a ticket to diverse membership – for the last three years. He also the European Grand Prix for Choral Singing to be held directs the Vocalista Harmonic Choir at the Indonesian in Debrecen, Hungary, after they won the 67th Guido Institute of the Arts, Yogyakarta. d’Arezzo International Choral Competition. Andri was formerly a member of the Diponegoro This article, however, does not focus on the University Student Choir. Currently, she directs the achievements of Indonesian student choirs at national Espero Choir from Semarang State Intermediate School and international competitions or discuss the various 2 and the Chorale Smansa from Semarang State High types of choral competitions conducted in Indonesia. School 1. Instead, it explores the way in which choir directors in Annas, a former member of the 2009 Asian Youth Choir Indonesia introduce their choir members to Christian under the baton of Prof. Chifuru Matsubara, is the sacred music. In the Indonesian context where around director of two student choirs in Malang: the Brawijaya 87% of the population is Muslim, singing sacred University Student Choir and the Gitasurya Student music can make choir members feel uncomfortable. Choir at the University of Muhammadiyah. Annas has It is not surprising, then, that several choirs decide to directed the Gitasurya Student Choir for eight years. sing secular repertoires like folksongs and pop songs Gitasurya is part of the University of Muhammadiyah, instead. Malang - one of the largest private Islamic universities To get an idea of how Indonesian choir directors, not in Indonesia. all of whom are Christian, perceive and provide their members with an understanding of sacred music INTRODUCING SACRED SONGS: pieces, the writer chose to interview four of them. CHALLENGES AND SOLUTIONS In selecting the four, consideration was given to Arvin acknowledges that one of the most difficult geographical representation, the diversity of the choir challenges he faces in dealing with a student choir with involved, and the achievements attained. a diverse membership is to help them understand that The four directors selected were: 1) Arvin Zeinullah music need not be linked to any particular religious

45 belief. For Arvin, music in any genre be sung, Athitya tries to use universal terms or analogies. She hopes that is actually a means of cultivating by providing a general explanation, each choir member will have nearly the character and developing tolerance same understanding of the song and not become fixated upon the context for those who embrace it. of Christian worship. Like Arvin, Athitya always invites choir members to REPERTOIRE In introducing Christian sacred perceive the sacred music they perform as a piece of art that is universal compositions, Arvin never forces in nature, not something belonging to any particular religion. She invites members to participate if they members to look at the aesthetic aspects of each work of art rather than raise objections. In conceptualizing fixating on texts that are often associated with a particular religion. Like the texts of the sacred music Arvin, Athitya does not force members to sing sacred songs if doing so he selects, Arvin always stands makes them feel uncomfortable. on the side of aesthetics and As a Muslim, Andri has no objection at all to singing at a wedding service or pedagogy. As a Muslim, Arvin has worship service in a church. She feels that spiritual songs from any religion an advantage of introducing sacred convey a positive message. This is also conveyed to choir members with music to his Muslim choir members diverse religious backgrounds so that they can see and comprehend the without seeming suspicious and beauty contained in the sacred music composition without disturbing their therefore he can have a more open beliefs. For Andri, faith is an individual matter between each person and his discussion with them. or her God. Athitya, who is Catholic, is very In contrast to Arvin and Athitya, whilst directing the choir of SMP Negeri fortunate because she has never 2 Semarang (commonly referred to as the Espero Choir), Andri has experienced any objection, either faced resistance from both the school and parents of choir members for from choir members or their presenting sacred music pieces, even though some members of the choir parents. Neither has the Gadjah do not mind. In fact, ever since Andri was first hired as the youth choir Mada University administration director, she has always stressed that the tradition of choral singing itself ever objected to its student choir is part of Christian culture and so it is certainly possible for the Espero singing sacred music. Choir to sing sacred choral music compositions. For her, art is related to In teaching the choir about the the horizontal dimension, which governs human to human relationships, or, messages of the sacred songs to as she puts it, “how to touch people’s hearts with music”. Religion, on the

Gadjah Mada Choir

46 Gita Surya Choir

Gadjah Mada Choir

47 other hand, is vertical, governing could clearly understand the meaning of the song. Although the singers the relationship between human could easily accept Annas’ explanation, the university asked him to choose beings and their God. a different song because another student unit had objected to it, claiming Even so, Andri once had a very that the Gitasurya choir was singing Christian songs. REPERTOIRE unpleasant experience when one or more choir members talked CONCLUDING REMARKS about the sacred song she had The experiences of the four directors mentioned above are just a small chosen to perform at home. One example to illustrate the struggles and challenges faced by most choirs child’s parents then looked up the in Indonesia when they perform sacred music. Of course, the resistance meaning of the words in the song faced by the four directors from choir members, parents and supporting and sent a protest to Andri and the institutions is not the same, but the choir directors have tried to show school. The school agreed with the thoughtful understanding to those who object. Although the response parents and asked Andri to replace given by each of their members differed, these four directors agree that the that composition with a secular understanding of sacred music compositions should not just stop with the song. text but should be understood as an interfaith artistic expression. Only in As a Muslim, Annas has been very this way, they argue, can we free ourselves from the confines of religious open about singing sacred songs barriers. and has even taught them to the choirs he has directed. However, Edited by Lydia de Montfort, UK he acknowledges that since Gitasurya is part of Muhammadiyah University, non-Islamic sacred songs must be avoided because it is against the policy of the university. AGASTYA RAMA LISTYA obtained a It is still possible for songs with Bachelor of Arts in Music Composition divine themes to be sung, but from the Indonesian Institute of the Arts the director’s interpretations must Yogyakarta in 1992. His master’s degree in be as neutral as possible and not choral conducting was received from Luther be associated with any particular Seminary and St. Olaf College, Minnesota, in the religion. USA in 2001. In 2018, Agastya completed his PhD On one occasion Annas taught an in Ethnomusicology at Otago University in New Zealand. Indonesian sacred song entitled His interests include composing and arranging music, choral Bukakan Pintu KasihMu (Open conducting and music research. Currently, Agastya is the artistic the Door to Your Love) by Ronald director of Lux Aeterna Vocal Ensemble (2015 – present) and the head of Satya Wacana Music Department in Salatiga, Indonesia. Pohan. He tried to offer a universal Email: [email protected] explanation so that choir members

Espero Choir

48 The Student Choir of Padjajaran University, winner of the 67th Guido d’Arezzo International Choral Competition © Guido d’Arezzo International Choral Competition 49 MANY VOICES: THE NEW POLYPHONY

REPERTOIRE IN ANGLO-AMERICAN CHORAL MUSIC OF THE TWENTY-FIRST CENTURY Part one

GRAHAM LACK composer

ABSTRACT MANY VOICES: THE NEW POLYPHONY IN ANGLO-AMERICAN CHORAL As the twenty-first century MUSIC OF THE TWENTY-FIRST CENTURY progresses, a number of eminent With the caveat that most if not all music within the early Western church composers continue to write in is vocal, the dawn of polyphony occurs during the 9th and 10th centuries, an avowedly polyphonic vein, and an era that witnesses a considerable increase in musical experimentation. several younger exponents of The essential move is from purely monophonic plainchant to fully-fledged the art of polyphony – to include two-voice music. Here, the lower voice is usually a chant drawn from counterpoint – come to the fore. the Gregorian tradition, which flourishes as early as the 3rd century in An initial short history of choral continental Europe. (Later, melodies are taken from the Use of Sarum, polyphony up to and including the which is established in the 11th century in what remain the British Isles.) works of Johann Sebastian Bach To this melody is added a second voice, the result being termed organum. acts as a foil to these continuations The liturgical chant is accompanied step by step by a second voice at an and developments. The main interval of a fourth below, but there remains enough freedom within the thrust of the article, however, is compositional process to deploy the two voices in unison at the outset, and directed at choral works written by then to introduce admittedly faltering attempts at both oblique and contrary international figures in the last ten movement. In polyphonic terms, although for much of the piece these two to twenty years, ones that evince voices move in identical contours, there are brief moments of welcome these trends. A clear distinction tension and relaxation due to the occurrence of other intervals than the has always existed between fourth, such as unisons and major seconds, as well as thirds. To determine polyphony and counterpoint: all to what extent this music is polyphonic, or contrapuntal, or both, we need to counterpoint is polyphonic; but examine Rex coeli, Domine maris, found in the theoretical treatise, Musica not all polyphony is contrapuntal. Enchiriadis. This “Handbook of Music” was long attributed to Hucbald de It proves in musico-theoretical Saint-Amand, but recent research would credit Abbot Hoger (perhaps a terms more useful to examine variant of Otger), who died in 906. the concept of “many sounds” than “many voices” per se, the latter appellation serving here as an explanation of the more literal “[point] against point”. From Otger to Boulez, many theoreticians have explored the role of many voices and show that this has always been paramount during the compositional process. A number of music examples taken from works by leading contemporary British and American composers are expounded on and various Music Example 1: Anon., “Rex coeli, Domine maris” analytical methods harnessed in an attempt to prove this general tenet.

50 Now, this might not be high art, technique and opens up a path of more ostensible creativity. but the results are surprisingly The short work Viderunt Hemanuel is a fine example of melismaticorganum . attractive. These unique examples Gone is the dependence on perfect fourths, and unisons are used more in such an early MS testify to sparingly, even if starting points for each phrase and cadence points remain the birth of a practice that was more conservative in treatment. An entire melismatic passage in the upper to bear the seeds of the whole voice may contain up to eleven notes, to include so-called liquescent values, of mediaeval musical art. In this where various consonants such as /m/ and /n/ are sung to closed lips. vestigial note against note style, the plainsong of the liturgy, or vox principalis, must be seen as an absolute master, and the second voice, or vox organalis, as in a state of absolute submission. Of seminal importance is that the fundamental procedure of polyphony has been created: many sounds created by multiple voices. Music Example 2: Leonin, “Viderunt Hemanuel”

Come the late 11th and early 12th century, we see that the humble A salient point with this piece is that compositional structures start to emerge: vox organalis suddenly not only we glimpse the beginnings of musical form. Evidence is provided at the “nu” acts as the musical focus but also of “He-ma-nu-el”, which is the sixth syllable of the text, but also at the “ni” of generates new compositional “ge-ni-tum” and the “ci” of “pa-la-ci-o”, which all point up the cadence by a paths. Allowing for the fact that sheer insistence of the greatest floridity as late as possible – i.e. as close as the vox principalis is a “given” one, possible – to the final unison.Viderunt is, then, truly polyphonic and at times, being but the liturgical plainchant one could argue, avowedly contrapuntal. itself, and therefore a voice part that could not be melodically What may be described as the first monuments of polyphony are these varied, it is the vox organalis that organa composed by the two great masters of the School of Notre Dame becomes freed up, and takes on of Paris: Léonin and his successor Pérotin. Notable is a new fluency of the nature of a true upper voice, polyphony, which sets these works far apart from a vestigial (but not called the superius, i.e. an upper necessarily primitive) polyphony of the early organum. These, moreover, are part. The plainsong remains large-scale compositions, ones demonstrating in the cantus such an extreme relegated to the lower voice, and lengthening of the notes of the plainsong that the ear can no longer make out henceforth is seen as the cantus. the original chant as a melody. The result is a new addition to the armoury of In the School of St Martial, simple polyphonic techniques: highly attenuated pedal notes. The most advanced organum becomes melismatic triple and quadruple organa by Pérotin use highly elaborated interweaving organum. Where previously the vox organalis is obtained by constant contrary motion, and although this discant style evinces some degree of independence between the two voices, one constant remains: a strict note against note stylistic relationship between the parts. However, as soon as the vox organalis is able to extricate itself from the demand of one note of chant melody corresponding to a single syllable of the text, there emerges the vital principle of melodic embellishment. This new practice of generating an upper voice that contains brief flurries of shorter note values beckons composers to advance the Music Example 3a: Pérotin, “Sederunt”, bars 1—10 51 term Trecento refers to the same period in Italy. To concentrate on the new, this was a time during which music notation REPERTOIRE undergoes radical reforms, ones which have a marked influence on the ability of composers actually to write down what they aurally imagined. The chief change is the approach to the by now standard Franconian-Petronian mensural system, where duple divisions of the beat (i.e. 2/4 or 3/4 time in modern terms), are feasible, but are not theoretically recognized; ternary divisions (i.e. modern 6/8 or 9/8 time) remaining the norm. The effect on polyphonic writing is immense: because duple and Music Example 3b: Pérotin, “Sederunt”, bars 192—200 triple mensuration are no longer on an equal footing, and the smallest note of the old system, the semibreve, is no longer capable structures in the three upper parts, or voces organales, demonstrated well in of representing a wide range of his setting of Sederunt. (music examples 3a and 3b) values in terms of numbers of Again, to focus on an arrestive point: there is a new approach to rhythm, beats, all note values are now no or at least to its unambiguous notation. This clarity is achieved by the longer completely dependent on employment of six rhythmic modes. Easily perceptible to both the ear and context. And when a new theorist the eye, these are akin to self-contained cells containing alternating short such as de Vitry proposes that the and long note values. They are first described in the anonymous treatise semibreve be modified by adding dating to ca. 1260, De mensurabili musica – variously attributed to Johannes upward or downward tails, it is de Garlandia or Jerome of Moravia – and determine the movement of the transformed into an independent three upper voices against the slow-moving lower one. This must be seen note value in its own right. Thus, is as novel: a type of three-against-one style in polyphonic terms, or three born the minim, which in turn, may voices pitted against a single one as seen from a contrapuntal perspective. also be divided into group of either Formally, discrete sections are delineated by the treatment of the tenor, three or two. Composers seeking which after about 194 bars in modern notation, starts to move more quickly, to advance choral polyphony, its melodic shape suddenly becoming more appreciable. Furthermore, and perhaps unwittingly verge this voice later follows the exact same rhythm of the upper voices, before on proper counterpoint, can now returning to its initial ponderous pace found at the opening. This process draw on a huge new resource of of consolidation and refinement is furthered in the 14th century, an age in rhythmic possibilities throughout which polyphony dominates and there is an increasing preoccupation with the prevailing notational hierarchy musical technique. To argue that this latter phenomenon culminates in the of values. At last, individual note music of Johann Sebastian Bach would be to decry to efforts of Dufay and values may be notated precisely Josquin, as well as Lassus and Palestrina, but it can safely be said that the and without a reliance on rhythmic solution to the harmonic and melodic crux of the compositional craft – i.e. context – i.e. with no regard to how the vertical and the horizontal aspects of composition do not detract previous and subsequent notes. from each other, but may be perfectly married – was finally realised by the This freedom is exploited most great German master. notably by Guillaume de Machaut But let us now briefly examine choral polyphony in the so-called Ars Nova. (ca. 1300 – April 1377), that poet, We note the appearance in France around 1320 of two important theoretical composer, canon, and servant of treatises which usher in a new age in music: Philippe de Vitry’s Ars Nova kings. We now arrive at a point (New Art) and Ars novae musicae (The Art of the New Music) by Jean de where polyphony is all-triumphant, Muris. The term Ars Nova, adopted by musicologists in the 20th century, is but many paths diverge: in two a convenient way to denote 14th century polyphony; the polyphony of the mainstream countries, France preceding century thus becomes the Ars Antiqua. In France at least, the and Italy, old forms are revised

52 (the setting of the Mass remains Let us concentrate once more on equivalent of the virelai, as well as omnipresent), but new ones are also that which is new-fangled: in France the chace, the ballata and caccia, invented, in order to accommodate the isorhythmic motet, but also plus a musical form unique to the the compositional, notational and song forms such as the ballade, geographical area, the madrigal. performative aspects of what can virelai, and rondeau, ones which (This is not to be confused with best be described as multipartite emerge against the troubadour and the 16th century form, which arose music. trouvère traditions; and in Italy its wholly independently but shares the nomenclature.) In the music of Machaut, although the harmonic language becomes ever more refined, it is the independence of the voices that is so remarkable. In his isorhythmic motet S’il estoit nulz, even a superficial glance at the part writing reveals a freedom not previously encountered. (music example 4) Moving forward, there is another huge leap in polyphonic thought encountered in the works of Baude Cordier (ca. 1380 – before 1440). Much has been written about this at times quite abstruse style, key Music Example 4: Guillaume de Machaut, “S’il estoit nulz” examples of the ars subtilior. Not only does he indulge in red note notation, known as “coloration”, a technique that stems from the general practice of mensural notation and which essentially designates various triplet proportions, he also changes the “color” in order to adjust the rhythmic value of a particular note away from its usual form. The modern transcription of Amans ames, although unwieldy and unwise as a performing edition, is illuminating as a scholarly one, revealing the remarkable and outright independence of meter in all three voices. The principle of many voices, i.e. true polyphony, is well to the fore. (music example 5) The occurrence (in modern notation) of duplet eighth notes and triplet eighth note groups, along with other metrical conceits in this beguiling example of the “art of the subtle” can be achieved more easily than we might imagine. At the time, composers were able to rely on a quite stable so-called mensural system of notation, one in which notes are not “orthochronic” – i.e. having only one metrical Music Example 5: Baude Cordier, “Amans ames” 53 value or performative solution as it were – but are allocated a number of beats according to whether in a tripartite rhythmic hierarchy the REPERTOIRE proportion between the middle layer and the lower one, and between the upper layer and the middle one, is either duple or triple, these relationships being known as “prolation” and “tempus” respectively. Even with recourse to today’s sophisticated system of notating rhythmically complex, nay abstruse, polyrhythms, even type- setting systems and those of us who still use a pencil and MS paper still are forced to add integers such as “2” or “3” acting as hats, to coin Music Example 6: Johannes Ciconia, “O virum omnimoda” a term, in order to show duple and triple beats and sub-beats. At this point we enter an interregnum, not only in music of phrases so as to produce true ingenuity and inventiveness. history, but also in the present musical form. However, the voices There is a new attitude to article. For we must consider do not overlap, and if they do, then polyphony, and concomitant probably what is the single most only by one note. (music example 6) counterpoint begins to take on conspicuous and far-reaching This kind of music takes place more than a certain dominance. aspect of polyphonic and/or in a kind of laboratory where The acceptance of duple rhythmic contrapuntal composition: in experiments in all things polyphonic patterns developed by Philippe de short, imitation. Now, the idea of a and contrapuntal can be conducted. Vitry, along with harmonic structure second voice in even a short two- Certainly, great advances are made allowing entire passages of thirds part vocal work sharing the melodic at this time. And as the world waits and sixths, coupled with the use material with the first voice to for novel results, it is rewarded by of musica ficta to render cadential such an extent that it becomes that which we call pervasive or points more definitive as landing indistinguishable from the original on-going, i.e. thorough imitation – points, allow melodic lines greater occurs to composers very early on. probably the single-most important flexibility and expansiveness. These instances – and this is the compositional technique ever By the late 14th century, musical nub – are in truth but canons. This to emerge, and one that would styles become indigenous, as borne out by the fact that there is dominate choral polyphony of the French and Italian composers begin really no pressing need to actually next few centuries. to go their own way and develop notate the second voice, as a singer Thus we alight with alacrity on distinct musical styles. And as can simply read and “win” the another three-voice work, Vostre we enter the 15th century we first second part from the first one, e.g. alée by Gilles Binchois (ca. 1400— encounter a truly international style delaying the entry by a pre-agreed 1460). (music example 7) of compositional development. The number of beats. The term “canon”, For its time, this is a remarkable key source of, in this case, early it must be remembered means piece, for it displays continuous English vocal compositions, is the simply a rule; a singer only has to imitation; indeed, each of the five Old Hall manuscript, and thank know what that is in order to derive phrases is treated this way, and the Good Lord that it survived a second voice from a first. In the this in all three parts. the ravages of time. Chiefly three-part O virum omnimoda, by We can note then a plethora of represented is John Dunstaple (or Johannes Ciconia (ca. 1370—1412), changes in composition taking place Dunstable, ca. 1390—1453), who the composer departs from the old during the 14th century and into the may be credited with bringing trecento procedures of the caccia early 15th century. A stable musical the English style of composition (where one voice “chases” another language of early mediaeval times, to France. His compositions – in strict imitation) and assigns one that is overtly structured and consisting of three-part motets, imitation rather frequently to the thus unified, gives way to much settings of antiphons, hymns, and two upper voices at the beginning change, imbued with considerable other liturgical biblical texts, along

54 with carols – display the beginning of the polyphonic practices of the Renaissance. He is the first composer to consistently utilise the procedures of counterpoint and part-writing resting on a solid triadic foundation. Indeed, his style is often described as an early proto- tonality, although it would be more consistent and evidence-based to allot that claim to both Guillaume Dufay (1400-1474) and Josquin des Prez (1440-1521). In Sancta Maria, a three-part hymn by Dunstaple, the use of triadic figures is conspicuous. Not only are they outlined, but entire phrases delineate and are bounded by a triad itself. (music example 8) Again, moving along at a rapid pace, we encounter here and in the music of continental composers such as Dufay and Josquin, the true rise of polyphony. Their achievements are discussed in Part Two of this article, which briefly considers the choral music of Music Example 7: Gilles Binchois, “Vostre alée” Lassus Palestrina, Tallis, and Byrd, before closing with an examination of the veritable fulfilment of contrapuntal polyphony and polyphonic counterpoint; the music of Johann Sebastian Bach. This article opens with a caveat, and closes with one, too: composers after Bach continued, of course, to use contrapuntal techniques and, indeed, indulge themselves in polyphony, just think of the Sanctus fugue in the Verdi Requiem, but these phenomena must be understood as retrospective in that the sheer achievement of the German master is a watershed. To use an analogy, one taken from the discipline of literary theory, this is conforming with the principle of the mirror and the lamp. This is to say that up to and including the music of J.S. Bach (in fact, from Greek Antiquity to the onset of Romanticism), all art acts as a mirror; subsequently, all art acts as a lamp. By “mirror” it is meant that art mimics life; in mimetic theory, Music Example 8: Dunstaple, “Sancta Maria” then, a mirror is held up to life. By

55 “lamp” it is meant that art illuminates those places in life which we ordinarily would not glimpse. This has a great bearing on the historical part of the present text: clearly, the development of polyphony and counterpoint REPERTOIRE in choral composition need only be examined up to the middle of the 18th century. The analytical discourses – to follow in future editions of this journal – focus on contemporary composers in Great Britain and North America, and elucidate compositional techniques and strategies, along with modes of expression, against the backdrop of contrapuntal and polyphonic choral music THE 17th INTERNATIONAL of the Mediaeval, Renaissance and Baroque eras. CHOIR FESTIVAL APRIL 15-18, 2021

OPEN FOR ALL CHOIR CATEGORIES GRAHAM LACK studied composition and musicology at King’s College REGISTRATION DEADLINE: and Goldsmiths’ College in the NOVEMBER 1, 2020 University of London, the University of Chichester, and the Technical University of Berlin. From 1982—1994 he was Lecturer in Music at the University of Maryland. His breakthrough was with the 12-part Sanctus, commissioned by Queens’ College Cambridge in 1998, and broadcast live on German Radio from Cologne. The Tw o Madrigals for High Summer (SSATB) have been performed worldwide. In 2008, REFUGIUM, based on texts by the Croatian poet Peter Hektorović, for choir, organ and three percussionists was premiered in London. Commissions include Estraines for The King’s Singers, Lullabies for VOCES8, Demesnes for Quartonal, A Sphere of Ether for the Young Voices of Colorado, and Wondrous Machine for the multi-percussionist Martin Grubinger. The string trio The Pencil of Nature was premiered at musica viva in Munich. Orchestral works include Nine Moons Dark and Five Inscapes. The Preludes for piano solo were premiered by Lukáš Vondráček at the Queen Elizabeth Hall London, the orchestral work Sitherwood by the MonteverdiChor Würzburg. He is currently working on a violin concerto and orchestra for Benjamin Schmid, The Windhover. Winner of the 2015 Ortus International New Music Competition. The Legend of Saint Wite (SAA voices and string quartet) prize- winner BBC Music Magazine Competition 2009. CD Missa Dominica (with Candlemas) Gramophone Recording of the Month December 2017. American Record Guide Critic’s Choice 2018, CD REFUGIUM. Since 2018 Composer Fellow Estonian Choral Association Trinity Boys Choir London. [email protected] - www. Roosikrantsi 13, 10119 Tallinn, Estonia graham-lack.com. (Picture © Astrid Ackermann) Tel. (372) 627 44 51, (372) 627 44 50

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57 IIFCM-Inserat_ICC-AV_Logo_2021_v1.inddFCM-Inserat_ICC-AV_Logo_2021_v1.indd 1 114.04.204.04.20 110:490:49 CHORAL CALENDAR

CHORAL CALENDAR

Festivals, Competitions, Conferences, Workshops& Masterclasses, and more... Compiled by Nadine Robin

Marktoberdorf International Chamber Choral Competition 2017 © ModFestivals 58 Although we thrive to update this choral calendar with new dates for postponed festivals, we haven’t been able to check the status of all these festivals listed here below. So please visit their website and support their team by contacting them. Thank you!

4th Andrea del Verrocchio International Choral Lucca Consort Week, Toscany, Italy, 6-11 Sep 2020. Festival, Florence, Italy, 4-7 Aug 2020. Contact: Contact: Lacock Courses, Andrew van der Beek, Florence Choral, Email: [email protected] - Email: [email protected] - Website: www.lacock.org Website: www.florencechoral.com Conducting Academy with Frieder Bernius, International Choral conducting Masterclass, Stuttgart, Germany, 7-11 Sep 2020. Contact: Musik Malmö, Sweden, 10-15 Aug 2020. Contact: , Email: Podium Stuttgart e.V., Email: academy@musikpodium. [email protected] - Website: www. de - Website: http://www.musikpodium.de/ EuropaCantat.org International Choir Festival Corearte Rio de la International Festival of choirs and orchestras Plata 2020, Montevideo, Uruguay, 8-13 Sep 2020. in Paris, France, 19-23 Aug 2020. Contact: Contact: Festival Internacional de Coros Corearte MusikReisenFaszination Music Festivals, Email: Barcelona, Email: [email protected] - Website: www. [email protected] - Website: www.mrf- corearte.es musicfestivals.com ON STAGE in Lisbon, Portugal, 11-14 Sep 2020. 11th International Festival of Choirs and Contact: Interkultur Foundation, Email: mail@ Orchestras, Prague, Czech Republic, 26-30 Aug interkultur.com - Website: https://www.interkultur.com/ 2020. Contact: MusikReisenFaszination Music Festivals, Email: [email protected] - 14th Rimini International Choral Competition, Website: www.mrf-musicfestivals.com Rimini, Italy, 17-20 Sep 2020. Contact: Rimini International Choral Competition, Email: info@ 1st International Choir Festival Fides Cantat, riminichoral.it - Website: www.riminichoral.it Lutherstadt Wittenberg, Germany, 27-30 Aug 2020. Contact: Fides Cantat, Email: management@fides- 10th International Choir Festival & Competition cantat.de - Website: http://fides-cantat.de/ “Isola del Sole”, Grado, Italy, 26-30 Sep 2020. Contact: Interkultur Foundation, Email: mail@ 10th International St. James Festival, Vilnius, interkultur.com - Website: https://www.interkultur.com/ Lithuania, 1 Sep-10 Oct 2020. Contact: Choras Vilnius, Email: [email protected] - Website: http:// In the Footsteps of Ludwig van Beethoven, Bonn, www.chorasvilnius.lt/ Germany, 28 Sep-4 Oct 2020. Contact: European Choral Association – Europa Cantat, Email: Alfred. Brighton International Festival of Choirs, Brighton, [email protected] - Website: United Kingdom, 3-7 Sep 2020. Contact: Brighton www.EuropaCantat.org International Festival of Choirs, Email: festival@ brightonifc.com - Website: https://www.brightonifc. Cracovia Music Festival 2020, Cracow, Poland, 30 com/ Sep-4 Oct 2020. Contact: MusikReisenFaszination Music Festivals, Email: [email protected] - Mountain Song Festival Carinthia 2020, Wolfsberg, Website: www.mrf-musicfestivals.com Austria, 3-6 Sep 2020. Contact: MusiCultur Travel GmbH, Email: [email protected] - Website: www. 4th Beira Interior International Choir Festival and musicultur.com Competition, Fundäo, Portugal, 2-6 Oct 2020. Contact: Meeting Music, Email: info@meeting-music. Trogir Music Week, Croatia, 6-11 Sep 2020. Contact: com - Website: www.meeting-music.com Lacock Courses, Andrew van der Beek, Email: avdb@ lacock.org - Website: www.lacock.org Sing’n’Joy Bohol, Philippines, 7-11 Oct 2020. Contact: Förderverein Interkultur, Email: mail@ interkultur.com - Website: https://www.interkultur.com/

59 Internationales Chorefest, Magdeburg, Germany, Cantate Barcelona, Spain, 23-26 Oct 2020. Contact: 7-11 Oct 2019. Contact: Förderverein Interkultur, Music Contact International, Email: travel@music- Email: [email protected] - Website: https://www. contact.com - Website: www.music-contact.com interkultur.com/ London International choral Conducting Internationales Chorefest, Magdeburg, Germany, Competition, London, United Kingdom, 23-25 Oct

CHORAL CALENDAR 7-11 Oct 2020. Contact: Förderverein Interkultur, 2020. Contact: London International Choral Conducting Email: [email protected] - Website: https://www. Competition, Email: [email protected] - Website: http:// interkultur.com/ www.liccc.co.uk/

Bratislava Cantat II, Slovak Republic, 8-11 Oct 2020. Cantate Barcelona, Spain, 25-28 Oct 2020. Contact: Contact: Bratislava Music Agency, Email: info@choral- Music Contact International, Email: travel@music- music.sk - Website: www.choral-music.sk contact.com - Website: www.music-contact.com

Grieg International Choir Festival and NINA Solo Dakar International Singing Festival, Côte d’Ivoire, Competition for Young Singers, Bergen, Norway, 28 Oct-1 Nov 2020. Contact: A Coeur Joie Sénégal, 8-11 Oct 2020. Contact: Annlaug Hus, Email: post@ Lucien Mendy, Email: dakar.singing.festival@ griegfestival.no - Website: www.griegfestival.no gmail.com - Website: https://www.facebook.com/ DAKARSINGING/ 3rd Botticelli International Choral Festival, Venice, Italy, 11-14 Oct 2020. Contact: Botticelli International International Festival of choirs and orchestras Choral Festival, Email: [email protected] - in Vienna, Austria, 29 Oct-2 Nov 2020. Contact: Website: http://www.florencechoral.com/ MusikReisenFaszination Music Festivals, Email: info@ mrf-musicfestivals.com - Website: https://www.mrf- Claudio Monteverdi Choral Festival and musicfestivals.com/ Competition, Venice, Italy, 15-18 Oct 2020. Contact: Claudio Monteverdi Choral Competition, Email: 16th Concorso Corale Internazionale, Riva del [email protected] - Website: www. Garda, Italy, 4-8 Nov 2020. Contact: Meeting Music, venicechoralcompetition.it Email: [email protected] - Website: www. meeting-music.com Choral Workshops for International Oratorio choirs, Lake Garda, Italy, 15-18 Oct 2020. Contact: ON STAGE in Prague, Czech Republic, 5-8 Nov MusikReisenFaszination Music Festivals, Email: 2020. Contact: Interkultur Foundation, Email: mail@ [email protected] - Website: http://choral- interkultur.com - Website: https://www.interkultur.com/ workshops.com Deutsche Chormeisterschaft 2020, Koblenz, Lago di Garda Music Festival, Italy, 15-19 Oct 2020. Germany, 6-8 Nov 2020. Contact: Förderverein Contact: MusikReisenFaszination Music Festivals, Interkultur, Email: [email protected] - Website: Email: [email protected] - Website: www. https://www.interkultur.com/ mrf-musicfestivals.com Nafplio-Artiva 7th International Choral Festival, International Choir Festival Corearte Barcelona Nafplio, Greece, 11-15 Nov 2020. Contact: ARTIVA 2020, Spain, 19-25 Oct 2020. Contact: Festival Cultural Management & Advertising, Email: info@ Internacional de Coros Corearte Barcelona, Email: artiva.gr - Website: www.nafplio.gr/en/ [email protected] - Website: www.corearte.es 32nd International Franz Schubert Choir 20th Venezia in Musica, International Choir Competition, Vienna, Austria, 11-15 Nov 2020. Competition and Festival, Sacile & Venice, Italy, Contact: Förderverein Interkultur, Email: mail@ 22-25 Oct 2020. Contact: Meeting Music, Email: info@ interkultur.com - Website: https://www.interkultur.com/ meeting-music.com - Website: www.meeting-music. com International Choir Festival Corearte Medellin 2020, Colombia, 17-22 Nov 2020. Contact: Festival 9th Canta al Mar International Choral Festival, Internacional de Coros Corearte Barcelona, Email: Calella, Barcelona, Spain, 22-26 Oct 2020. Contact: [email protected] - Website: www.corearte.es Förderverein Interkultur, Email: [email protected] - Website: https://www.interkultur.com/

60 International Choral Festival VOCALTERRA, European Youth Choir for Final concert of Tlaxcala, Mexico, 17-22 Nov 2020. Contact: Israel Beethoven Anniversary Year, Bonn, Germany, Netzahual Cuatecontzi, Executive Director, Email: 11-18 Dec 2020. Contact: European Choral [email protected] Association – Europa Cantat, Email: Alfred.Jurgens@ EuropanChoralAssociation.Org - Website: www. Voices & Wine Malaga, Spain, 18-22 Nov 2020. EuropaCantat.org Contact: Interkultur Foundation, Email: mail@ interkultur.com - Website: https://www.interkultur.com/ Corsham Winter School, United Kingdom, 28 Dec 2020-2 Jan 2021. Contact: Lacock Courses, Andrew 38th International Choral Festival of Karditsa, van der Beek, Email: [email protected] - Website: Greece, 19-29 Nov 2020. Contact: International Choral www.lacock.org Festival of Karditsa, Email: [email protected] - Website: http://festivalofkarditsa.blogspot.gr/ Allmänna Sången & Anders Wall Composition Award 2021, Uppsala, Sweden, 31 Dec 2020. 15th International Warsaw Choir Festival Varsovia Contact: Allmänna Sangen and Anders Wall, Cantat, Poland, 20-22 Nov 2020. Contact: MELODY project manager Simon Arlasjö, Email: award@ & Polonia Cantat, Email: [email protected] - allmannasangen.se - Website: https://www. Website: www.varsoviacantat.pl allmannasangen.se/asawca

International Advent Singing Festival Vienna Misatango Choir Festival Vienna, Austria, 3-7 Feb 2020, Austria, 26-30 Nov, 3-7, 10-14 & 17-21 Dec 2021. Contact: CONCERTS-AUSTRIA, Email: info@ 2020. Contact: MusiCultur Travel GmbH, Email: info@ misatango.com - Website: www.misatango.com/ musicultur.com - Website: https://www.musicultur. com/en/our-choral-trips.html 15th International Choir Competition & Festival Bad Ischl, Austria, 4-8 Mar 2021. Contact: Interkultur Vienna Advent Sing, Austria, 26-30 Nov, 3-7, 10-14 & Foundation e.V., Email: [email protected] - Website: 17-21 Dec 2020. Contact: Music Contact International, https://www.interkultur.com/ Email: [email protected] - Website: www. music-contact.com ON STAGE with Interkultur in Tel Aviv, Israel, 10-14 Mar 2021. Contact: Interkultur Foundation, 7th Istanbul International Chorus Festival and Email: [email protected] - Website: https://www. Competition, Istanbul, Turkey, 27 Nov-1 Dec 2020. interkultur.com/ Contact: Istanbul Harman Folklor, Email: istanbul@ istanbulchorus.com - Website: http://www.harmanfolk. 10th International Gdansk Choir Festival, Poland, com/avrasya.htm 12-14 Mar 2021. Contact: MELODY & Polonia Cantat, Email: [email protected] - Website: www. International Festival of Advent and Christmas gdanskfestival.pl Music, Bratislava, Slovak Republic, 3-6 Dec 2020. Contact: Bratislava Music Agency, Email: info@choral- ACDA National Conference 2021, Dallas, Texas, music.sk - Website: www.choral-music.sk USA, 17-21 Mar 2021. Contact: American Choral Directors Association, Email: [email protected] - Website: 10th International Festival of choirs and orchestras http://acda.org in Baden, Germany, 3-6 Dec 2020. Contact: MusikReisenFaszination Music Festivals, Email: Music for All 2021 Choral Festival, Indianapolis, [email protected] - Website: www.mrf- USA, 25-27 Mar 2021. Contact: Music for All Inc., musicfestivals.com Email: [email protected] - Website: https://choir. musicforall.org/ 11th Krakow Advent and Christmas Choir Festival, Poland, 4-6 Dec 2020. Contact: Polonia Cantat & ON STAGE in Verona, Italy, 25-28 Mar 2021. Melody, Email: [email protected] - Website: Contact: Interkultur Foundation, Email: mail@ www.christmasfestival.pl interkultur.com - Website: https://www.interkultur.com/

18th Budapest International Choir Festival & Competition, Hungary, 28 Mar-1 Apr 2021. Contact: Meeting Music, Email: [email protected] - Website: www.meeting-music.com

61 Voices & Wine Alba, Italy, 7-11 Apr 2021. Contact: CantaRode International Choral Festival & Interkultur Foundation, Email: [email protected] - Competition, Kerkrade, The Netherlands, 13-16 May Website: https://www.interkultur.com/ 2021. Contact: CantaRode, Email: [email protected] - Website: www.cantarode.nl 7th Vietnam International Choir Festival & Competition, Hôi An, Vietnam, 8-12 Apr 2021. International Choral Competition Ave Verum 2021,

CHORAL CALENDAR Contact: Interkultur Foundation e.V., Email: mail@ Baden, Austria, 14-16 May 2021. Contact: Wolfgang interkultur.com - Website: https://www.interkultur.com/ Ziegler, chairman, Email: [email protected] - Website: www.aveverum.at 17th Tallinn International Choral Festival 2021, Estonia, 15-18 Apr 2021. Contact: Estonian Choral ON STAGE in Florence, Italy, 20-23 May 2021. Society, Email: [email protected] - Website: www. Contact: Interkultur Foundation, Email: mail@ kooriyhing.ee interkultur.com - Website: https://www.interkultur.com/

Slovakia Cantat, Bratislava, Slovak Republic, 22-25 Sound Waves Linz International Choir Competition Apr 2021. Contact: Bratislava Music Agency, Email: & Festival, Austria, 20-24 May 2021. Contact: [email protected] - Website: www.choral-music.sk Interkultur Foundation, Email: [email protected] - Website: https://www.interkultur.com/ 66th Cork International Choral Festival, Ireland, 28 Apr-2 May 2021. Contact: Cork International Choral Per Musicam Ad Astra, International Copernicus Festival, Email: [email protected] - Website: www. Choir Festival and Competition, Toru , Poland, 2-6 corkchoral.ie June 2021. Contact: Meeting Music, Email: info@ meeting-music.com - Website: www.meeting-music. 68th European Music Festival for Young People, com Neerpelt, Belgium, 30 Apr-3 May 2021. Contact: Europees Muziekfestival voor de Jeugd, Email: info@ ON STAGE in Tirana, Albania, 9-13 June 2021. emj.be - Website: www.emj.be Contact: Interkultur Foundation, Email: mail@ interkultur.com - Website: https://www.interkultur.com/ 20th Venezia in Musica, International Choir Competition and Festival, Venice and Caorle, Italy, 12th International Krakow Choir Festival 1-5 May 2021. Contact: Meeting Music, Email: info@ Cracovia Cantans, Poland, 10-13 June 2021. meeting-music.com - Website: www.meeting-music. Contact: MELODY & Polonia Cantat, Email: com [email protected] - Website: www. krakowchoirfestival.pl Riga Sings, International Choir Competition and Imants Kokars Choral Award, Riga, Latvia, 1-5 May Bratislava Choir Festival, Slovak Republic, 10-13 2021. Contact: Förderverein Interkultur, Email: mail@ June 2021. Contact: Bratislava Music Agency, Email: interkultur.com - Website: https://www.interkultur.com/ [email protected] - Website: www.choral-music.sk

11th World Choir Festival on Musicals and One Voice Choir Festival with Jonathan Palant, Competition, Thessaloniki, Greece, 7-10 May Hanoi & Saigon, Vietnam, 10-19 June 2021. Contact: 2021. Contact: DIAVLOS, Email: [email protected] - KIconcerts, Email: [email protected] - Website: Website: www.diavloslink.gr www.KIconcerts.com

19th International Choir Festival Zlatna Vila, Limerick Sings International Choral Festival, Prijedor, Bosnia Herzegovina, 7-9 May 2021. Limerick, Ireland, 11-13 June 2021. Contact: Limerick Contact: International Choir Festival Zlatna Vila, Email: Sings, Email: [email protected] - [email protected] - Website: http://www. Website: www.limericksings.com zlatnavila.info/?lang=en Victoria Adriatic International Choral Competition, Meeting of Children’s and Youth Choirs, Thuir, Opatija, Croatia, 15 June 2021. Contact: - Website: France, 12-16 May 2021. Contact: , Email: Alix. http://www.wearesinging.org/competition-adriatic.html [email protected] - Website: Https://Rebrand.Ly/Jvm

62 Dublin Choral Festival, Ireland, 16-20 June 2021. Chanakkale International Choir Festival and Contact: Music Celebrations International, LLC, Competition, Chanakkale, Turkey, 6-11 July 2021. Email: [email protected] - Website: http:// Contact: Çanakkale Onsekiz Mart Üniversitesi, Email: dublinchoralfestival.org/ [email protected] - Website: http:// www.canakkalekorofestivali.com/ Salzburg International Choral Celebration and Competition, Salzburg, Austria, 17-21 June 2021. International Youth Music Festival I & Slovakia Folk, Contact: Meeting Music, Email: info@meeting-music. Bratislava, Slovak Republic, 7-10 July 2021. Contact: com - Website: http://meeting-music.com/ Bratislava Music Agency, Email: [email protected] - Website: www.choral-music.sk Montréal Choral Festival 2021 with Z. Randall Stroope, Canada, 19-25 June 2021. Contact: 39th International Choir Festival of Preveza, KIconcerts, Email: [email protected] - Website: 27th International Competition of Sacred Music, www.KIconcerts.com Preveza, Greece, 8-11 July 2021. Contact: Choral Society «Armonia» of Prevesa, Email: armonia4@ Passion of Italy Rome Festival, Venice and Milano, otenet.gr - Website: http://www.armoniachoir.gr/ Italy, 22-28 June 2021. Contact: KIconcerts, Email: festival/index.php [email protected] - Website: www.KIconcerts.com 11th Musica Eterna Roma International Choir Rome Choral Festival, Rome, Italy, 23-27 June Festival and Competition, Italy, 10-14 July 2021. 2021. Contact: Music Celebrations International, LLC, Contact: Meeting Music, Email: info@meeting-music. Email: [email protected] - Website: http:// com - Website: www.meeting-music.com romechoralfestival.org/ 2021 Golden Gate International Children’s and CANTEMUS International Choir Festival, Novi Sad, Youth Choir Festival, Oakland, California, USA, Zrenjanin, Vojvodina, Serbia, 24-28 June 2021. 11-17 July 2021. Contact: Piedmont Choirs, Email: Contact: International Music Center Balkan Bridges, [email protected] - Website: www. Email: [email protected] - Website: http:// goldengatefestival.org www.imcbalkanbridges.com International Choir Festival InCanto Mediterraneo, 2021 Choral Festival in Ireland with Rollo Dilworth, Milazzo (Sicily), Italy, 11-17 July 2021. Contact: Prague, Czech Republic, 28 June-5 July 2021. Associazione Corale “Cantica Nova”, Email: festival@ Contact: KIconcerts, Email: [email protected] - festivalincantomediterraneo.it - Website: www. Website: www.KIconcerts.com festivalincantomediterraneo.it

Salzburg Choral Festival Jubilate Mozart!, Austria, International Boys and Men’s Choral Festival, 30 June-4 July 2021. Contact: Music Celebrations Flagstaff, Arizona, USA, 13-20 July 2021. Contact: International, LLC, Email: [email protected] IBMCF, Email: [email protected] - - Website: https://salzburgchoralfestival.org/ Website: www.internationalchoralfestival.com

11th World Choir Games, Antwerp, Ghent, Belgium, 13th International Choir Competition, Miltenberg, 2-12 July 2021. Contact: Interkultur Foundation, Bavaria, Germany, 15-18 July 2021. Contact: Email: [email protected] - Website: https://www. Kulturreferat des Landratsamtes Miltenberg, Gaby interkultur.com/ Schmidt, Email: [email protected] - Website: www. chorwettbewerb-miltenberg.de 15th Summa Cum Laude International Youth Music Festival, Vienna, Austria, 2-7 July 2021. Contact: Europa Cantat Festival 2021, Ljubljana, CONCERTS-AUSTRIA, Email: [email protected] - Slovenia, 16-25 July 2021. Contact: European Website: www.sclfestival.org Choral Association – Europa Cantat, Email: info@ europacantat.jskd.si/ - Website: https://europacantat. 2021 Choral Festival in Ireland with Craig Hella jskd.si/ Johnson, Belfast and Dublin, Ireland, 2-8 July 2021. Contact: KIconcerts, Email: [email protected] - 6th International Conductor’s Seminar Website: www.KIconcerts.com Wernigerode, Germany, 17-20 July 2021. Contact: Förderverein Interkultur, Email: [email protected] - Website: https://www.interkultur.com/

63 12th International Johannes Brahms Choir Festival 16th International Warsaw Choir Festival Varsovia and Competition, Wernigerode, Germany, 21- Cantat, Poland, 12-14 Nov 2021. Contact: MELODY 25 July 2021. Contact: Förderverein Interkultur, & Polonia Cantat, Email: [email protected] - Email: [email protected] - Website: https://www. Website: www.varsoviacantat.pl interkultur.com/ Voices & Wine Malaga, Spain, 17-21 Nov 2021.

CHORAL CALENDAR International Youth Music Festival II and Bratislava Contact: Interkultur Foundation, Email: mail@ Cantat I, Bratislava, Slovak Republic, 26-29 July interkultur.com - Website: https://www.interkultur.com/ 2021. Contact: Bratislava Music Agency, Email: info@ choral-music.sk - Website: www.choral-music.sk Vienna Advent Sing, Austria, 25-30 Nov, 2-6, 9-13 & 16-20 Dec 2020. Contact: Music Contact International, 1st Classical Music Summer Festival, Vienna, Email: [email protected] - Website: www. Austria, 29 July-1 Aug 2021. Contact: CONCERTS- music-contact.com AUSTRIA, Email: [email protected] - Website: http://www.concerts-austria.com/summer- International Festival of Advent and Christmas festival-vienna Music, Bratislava, Slovak Republic, 2-5 Dec 2021. Contact: Bratislava Music Agency, Email: info@choral- ON STAGE in Lisbon, Portugal, 10-13 Sep 2021. music.sk - Website: www.choral-music.sk Contact: Interkultur Foundation, Email: mail@ interkultur.com - Website: https://www.interkultur.com/ Slovakia Cantat, Bratislava, Slovak Republic, 21-24 Apr 2022. Contact: Bratislava Music Agency, Email: 12th Krakow Advent and Christmas Choir Festival, [email protected] - Website: www.choral-music.sk Poland, 3-5 Dec 2021. Contact: Polonia Cantat & Melody, Email: [email protected] - Website: 13th European Festival of Youth Choirs, Basel, www.christmasfestival.pl Switzerland, 24-29 May 2022. Contact: Europäisches Jugendchor Festival Basel, Kathrin Renggli, Email: Bratislava Cantat II, Slovak Republic, 7-10 Oct 2021. [email protected] - Website: www.ejcf.ch Contact: Bratislava Music Agency, Email: info@choral- music.sk - Website: www.choral-music.sk Bratislava Choir Festival, Slovak Republic, 9-12 June 2022. Contact: Bratislava Music Agency, Email: 4th Kalamata International Choir Competition [email protected] - Website: www.choral-music.sk ACDA and Festival, Greece, 7-11 Oct 2021. Contact: 2021 Förderverein Interkultur, Email: [email protected] - International Youth Music Festival I & Slovakia Folk, Website: https://www.interkultur.com/ Bratislava, Slovak Republic, 6-9 July 2022. Contact: March 17-20 Dallas, Texas Bratislava Music Agency, Email: [email protected] - In Canto sul Garda International Choir Website: www.choral-music.sk Competition, Riva del Garda & Arco, Italy, 9-13 Oct 2021. Contact: Meeting Music, Email: info@meeting- Europa Cantat Junior Festival, Vilnius, Lithuania, 15- music.com - Website: www.meeting-music.com 24 July 2022. Contact: Europa Cantat junior 8, Email: Featured Choirs! Honor Choirs! Pre-Conference [email protected] - Website: europacantatjunior. Dallas Symphony Orchestra and Chorus Children "Welcome to Dallas" 10th Canta al Mar International Choral Festival, fr/en/ Entre Voces, Coro Nacional de Cuba Fernando Malvar-Ruiz Event Calella, Barcelona, Spain, 21-25 Oct 2021. Contact: GALA Collaboration Concert HS/SATB Förderverein Interkultur, Email: [email protected] - International Youth Music Festival II and Bratislava The Dallas Chamber Choir Our Song: The Atlanta Gay and Website: https://www.interkultur.com/ Cantat I, Bratislava, Slovak Republic, 25-28 July Maria Guinand Turtle Creek Chorale Lesbian Choir (SATB) 2022. Contact: Bratislava Music Agency, Email: info@ MS/JH SATB St. John’s Baptist Church Austin Gay Men’s Chorus (TTBB) Adriatic Pearl International Choir Festival & choral-music.sk - Website: www.choral-music.sk Andrea Ramsey Competition, Dubrovnik, Croatia, 28 Oct-1 Nov San Diego Women’s Chorus (SSAA) Multicultural HS/Collegiate Great Venues! 2021. Contact: Meeting Music, Email: info@meeting- Bratislava Cantat II, Slovak Republic, 6-9 Oct 2022. Tenebrae SSAA First United Methodist Church music.com - Website: www.meeting-music.com Contact: Bratislava Music Agency, Email: info@choral- Texas All State Mixed Chorus Eugene Rogers Moody Performance Hall music.sk - Website: www.choral-music.sk Texas Collegiate combined Choirs Pearl Shangkuan Morton H. Meyerson ON STAGE in Prague, Czech Republic, 4-7 Nov with Simon Halsey 2021. Contact: Interkultur Foundation, Email: mail@ International Festival of Advent and Christmas Symphony Center The World Youth Choir interkultur.com - Website: https://www.interkultur.com/ Music, Bratislava, Slovak Republic, 1-4 Dec 2022. Winspear Opera House Voctave Conference Hotels Contact: Bratislava Music Agency, Email: info@choral- Sheraton Dallas Hotel music.sk - Website: www.choral-music.sk And More... Hotel Fairmont Dallas

64 ACDA 2021 March 17-20 Dallas, Texas

Featured Choirs! Honor Choirs! Pre-Conference Dallas Symphony Orchestra and Chorus Children "Welcome to Dallas" Entre Voces, Coro Nacional de Cuba Fernando Malvar-Ruiz Event GALA Collaboration Concert HS/SATB The Dallas Chamber Choir Our Song: The Atlanta Gay and Maria Guinand Turtle Creek Chorale Lesbian Choir (SATB) MS/JH SATB St. John’s Baptist Church Austin Gay Men’s Chorus (TTBB) Andrea Ramsey San Diego Women’s Chorus (SSAA) Multicultural HS/Collegiate Great Venues! Tenebrae SSAA First United Methodist Church Texas All State Mixed Chorus Eugene Rogers Moody Performance Hall Texas Collegiate combined Choirs Pearl Shangkuan Morton H. Meyerson with Simon Halsey Symphony Center The World Youth Choir Winspear Opera House Voctave Conference Hotels And More... Sheraton Dallas Hotel Hotel Fairmont Dallas

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